Celebrate our tenth anniversary with the biggest issue we’ve ever made. FLOOD 13 is deluxe, 252-page commemorative edition—a collectible, coffee-table-style volume in a 12″ x 12″ format—packed with dynamic graphic design, stunning photography and artwork, and dozens of amazing artists representing the past, present, and future of FLOOD’s editorial spectrum, while also looking back at key moments and events in our history. Inside, you’ll find in-depth cover stories on Gorillaz and Magdalena Bay, plus interviews with Mac DeMarco, Lord Huron, Wolf Alice, Norman Reedus, The Zombies, Nation of Language, Bootsy Collins, Fred Armisen, Jazz Is Dead, Automatic, Rocket, and many more.
Cut Worms, Transmitter
Produced by Jeff Tweedy, Max Clarke’s fourth album tampers down the luster of past records, grounding aspects of the indie-folk songwriter’s music that once seemed impossibly pristine.
Kim Gordon, Play Me
Fully embracing the trashy SoundCloud-era internet aesthetic as she raps, sings, and shreds over industrial clatter, this is the sound of an artist who’s still inspired by the cutting edge at 72.
The Notwist, News From Planet Zombie
This folksy, brassy new iteration of the German trio excels at melodies that yearn and churn with melancholy—yet still manages something celebratory.
Sean Fennell
Alynda Segarra expands in seemingly every direction at once on Life on Earth, working in the new while retaining the old.
The ambitious folk-rock group achieves a fully-assured sound at an epic scale by letting Adrianne Lenker’s songwriting talent flow unrestrained.
Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
The Welsh songwriter details the process of putting together her sixth album, which arrives this week.
This is Jason Molina at his most uncut and unadorned, less an album than a found-audio recording.
The Australian songwriter discusses covering new ground while remaining entirely singular on her third solo album.
Their latest LP finds the duo peeling back the layers of their previous work until they arrive at the essential center.
Lea gives each song its own sonic identity, taking what could become monotony and creating anything but.
The LA-based songwriter discusses brevity, tenderpunk, and her new label home.
The 2006 LP gives us a snapshot of a band working through the kinks, establishing a framework for an impressive future catalogue.
The Swedish-Argentinean songwriter’s fourth album removes the veneer, contemplates the contradictions in our nature, and embraces all our messiest vestiges and claws.
Aryeh discusses the overnight success of “Stella Brown,” how the track shaped his vision for the new album, and the ways in which he creates his own scene.
The dream pop group’s third album finds beauty in quiet and noise, the natural and the otherworldly, change and acceptance.
Revisiting one of the most unlikely hit records of the early 2000s.
With 2003’s “Stacy’s Mom”–toting LP getting a Real Gone Music reissue, we revisit the power-pop group’s uncool and understated third release.
Rattigan discusses his most collaborative solo album yet, as well as the catharsis of defeating his own personal Pennywise the Clown.
Their 12th record tries to reach a singular vision, but it’s hard not to hear the many voices attempting to roar as one.
“How Many Times” is pristine—you half expect the record to come with 3 fingers of bourbon and a cool summer breeze.
Merrill Garbus on the uncomfortable conversations and creative choices that characterize the band’s fifth album.
The band’s 7th LP is a wily repurposing of former selves while, at the same, whittling away what no longer fits.
The London songwriter is able to achieve a collision of cool and gut-wrenching that is all her own.
