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.
Westside Cowboy, So Much Country ’Till We Get There
The buzzy Manchester group’s new EP doubles down on affability with five tracks of straightforward indie rock coursing with charm and easy-going, edgeless quirks.
Xiu Xiu, Xiu Mutha Fuckin’ Xiu: Vol. 1
These covers capture the broad spectrum of artists who’ve inspired Jamie Stewart over the past 24 years—and prove that Xiu Xiu is able to even make Robyn sound unwaveringly dark.
The Cribs, Selling a Vibe
With the help of producer Patrick Wimberly, the Yorkshire post-punk revivalists both open wide and tighten up their taut instrumental skills and melody-making on their ninth album.
Sean Fennell
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.
The Muncie Girls songwriter finds much more fertile ground in the internal on her solo debut.
This self-titled LP is a record of hits, misses, and left-field bangers—but it’s Shamir’s and Shamir’s only.
Alicia Bognanno’s third LP benefits from a newfound willingness to let go.
The band pick at every scab they’ve developed during their arduous last twelve months.
Isbell’s seventh album works best when it exists in the vagaries, where the lines of fact and fiction mix.
“MaDLO” is full of holes, but wholly unique.
“Loves” sees a veteran artist sauntering along his creative borders with glee.
