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.
Ella Langley, Dandelion
The pop-country songwriter understands the human weight of the American South’s emotionally rich tableau of high-speed heartbreak and low-light bars, as demonstrated on a resilient second album.
Sugar Horse, Not a Sound in Heaven
On their cleanest-sounding record yet, the doomy Bristol band’s idea of dance music feels perfectly suitable for the turbulent year 2026 has already proven to be.
Lime Garden, Maybe Not Tonight
The cocktail of frustration, insecurity, and lust that courses through the Brighton quartet’s buzzing and adventurous second album mirrors the trajectory of an energetic night out.
Taylor Ruckle
The Chris Farren–directed visual announces Elise Okusami’s new album Nothing’s Ever Fine, which arrives April 8 via Polyvinyl.
The London-based indie rockers’ latest EP is an anti-formalist return to form.
The latest single from “Galactic Africa” pushes back on neo-colonialism in energetic Afrobeat fashion.
Kennedy Freeman shares the first of two full-band singles already planned for 2022.
The track arrives ahead of the “Jagged Little Pill” cast member’s debut album, “My Bed.”
The Québec-based songwriter celebrates the richness of her culture and the healing she’s achieved through transmitting it on her latest release.
The paradoxically upbeat single arrives ahead of their forthcoming self-titled EP.
The Palberta member’s solo debut channels the anguish and exhilarating possibility of a post-breakup period.
Taylor Vick’s comfort zone is the lilting, mid-tempo stuff her new album is founded on, opening up an expansive space around her nylon-string compositions.
Chamber-pop ornamentation and live-band grit weave around spiritual lyricism on the Cincinnati band’s third album.
