Flooding is a Kansas City power trio playing the kind of brutal and deliberate loud-quiet-loud rock music that had certain corners of the American underground in a chokehold during the no-compromise 1990s. Their newest EP, object 1, adds a bit of a hook-aware songwriting sensibility into the mix, a development that makes us excited to see where this band goes next. Until then, we will be monitoring their touring schedule and hoping they hit a DIY venue somewhere in the greater tri-state area sooner rather than later. We had a nice talk with guitarist and vocalist Rose Brown; read the interview and listen to object 1 below.

What is the best part about being a three-piece band? 

Rose Brown: With only bass, drums, and one guitar, you can get a way clearer composition that doesn’t get muddled by seven million band members. Plus we spend way less money on tour.

Could you talk a bit about your new EP? Do you think it is pushing the band into any new places musically?

I think that every new release we put out should be pushing the band into new territory. I never want to stop discovering new things I like about music. With this EP, we’re exploring how we can incorporate our dark sound with pop elements. I would rather focus on the overall mood of the music and make people feel something than write music that can be easily categorized into one genre. That’s how you get stuck in a box, but the spectrums of human emotions and experiences are expansive and you can’t get bored musically if you think of it that way.

How did you discover the canon of 90s underground rock music?

The internet. My parents don’t even know who Courtney Love is.

Who are some of your favorite lyricists and what about them inspires you in your own music?

A lot of Alex G songs seem story-like and non-autobiographical and I really like that quality. Using a different perspective to write songs about tough subjects that are still somehow fun to listen to is something I’ve been aspiring to with this new EP.

What influences the visual side of Flooding?

Interior design is really inspiring to me. Your surroundings literally affect your nervous system, so being surrounded by beauty and noticing new things can change your life on a subconscious level. I love art museums, not necessarily the art in them, but the context that the art is placed into. The blank space between each piece of art in a museum is just as important as the art itself and you can apply that to music, too. I think you can also reflect the way your music sounds by using the right artwork if you think about it that way. 

How has your live show changed and developed over the past few years? Has touring and playing shows informed how you are writing your new material?

The first time I ever performed live was in 2021, so I’ve been learning about myself as a performer as I go. The more you do it, the less you give a shit about what anyone thinks, and the more you discover about yourself, on an existential level, even. The confidence I’ve gained on stage has trickled into my whole life. And as the years have gone on I’ve realized that if I want to have fun performing I need to stop writing these sad slow songs, so how I’ve decided that I want to feel on stage has definitely informed the music I’ve been writing. Much faster and sassy songs that make me want to run around.

Could you tell us a bit about the scene in Lawrence/Kansas City? Any favorite bands?

I think that the music scenes of smaller cities breed a lot more creativity because of how much closer in proximity you can get to a lot of different genres. You can be a rap artist and end up on a bill with a shoegaze band and a punk band and an alternative country band. The promoter Aaron [Rhodes] at our flagship DIY venue in Kansas City called Farewell likes to book mixed bills. It’s a lot more fun that way and expands the community. My favorite bands right now are Virga, Nightosphere, and Sweeping Promises. TheBabeGabe just put out a pop album that I love too. 

What is exciting you the most about guitar music in 2025?

Not much. Lately I’ve been enjoying music that either has no guitar or very little. I’m excited about the prospect of writing music in a way that focuses less on guitar.