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.
Empress Of, Dream House
On a prismatic album about reconstruction and fulfillment, the Honduran-American songwriter embodies pure-hearted conviction to remind us home is where the heart is.
Emma Ruth Rundle, These Killing Times
Capturing the existential uncertainty and anguish of being alive right now, each of the eight tracks on the Portland-based songwriter’s new record feels like some kind of séance.
Slow Pulp, Melodie
The Wisconsin indie rockers have created something more cohesive, polished, and cathartic on their third LP, an exploration of loss and change.
Will Schube
Dr. Octagon / photo by Carlo Cavaluzzi
Tired of waiting for everyone else to join them, Kool Keith, Dan the Automator, and DJ QBert have touched back down on Earth.
With A24’s latest triumph now in theaters, Stetson walks us through his collaboration with director Ari Aster and the film scores that have shaped his work.
La Luz are turning their garage rock early days into something shimmering and alluring, yet laced with venom and sharp edges.
On her debut solo LP, H.C. McEntire remains an effusive, unrelenting force amidst a shifted landscape.
The Montreal pop duo experiments with optimistic themes on their latest musical cocktail.
photo by Nick Ebeling
The Savages guitarist walks us through the making and spirit of her score for Nick Ebeling’s new Dennis Hopper documentary.
“Ga Ga Ga Ga Ga” is the logical conclusion of Spoon’s commercial appeal and their innovativeness, an effort seamlessly weaving between earworm melodies and genuine experimentation.
Sometimes the best things are the ones that remain the same.
Detroit’s most amiable punks explores their sound and considerably extend its boundaries.
From a quiet, smooth opening, Kamasi Washington’s new EP grows to enormous heights.
Frost’s music can be grating, obstructive, evil, sinister, and ugly. Yet there’s something both charming and beautiful in how he embraces these characteristics.
Maker and Campos find a way to bring their collaborators toward their sound, not the other way around, and the results are outstanding.
Most of all, Bronson simply seems fully in control of the world he’s created on “Blue Chips 7000.”
On their first record in five years, the venerable group starts small.
This is how most of “Popular Manipulations” works: starts modest, grows bolder, ends up on a mountaintop.
photo by Masayoshi Sukita
It took eleven years, but the Japanese songwriter has returned.
Tyler’s always been an immensely talented producer and rapper, but he’s never put together an album as cohesively as he does here.
Shabazz Palaces
We speak with the Seattle legend to figure out how, exactly, he always stays one step ahead of the game.
A death-defying trip to Glacier National Park inspired the Austin band’s new record.
Ernest Greene is a new musician on “Mister Mellow,” and the results are often outstanding.
