Timeline

1999ArticlesBreak/Flow 2

Graveyard & Ballroom – A Factory Records Scrapbook

Graveyard & Ballroom – A Factory Records Scrapbook by Howard Slater from the second print edition of Break/Flow 2. Incisive investigations into Joy Division, Martin Hannett, Tony Wilson, A Certain Ratio, Royal Family & the Poor, the Situationist influence and the ‘subversion of the product’.

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1999ArticlesBreak/Flow 2

Evacuate the Leftist Bunker

Exploring the “Rise of the Therapeutic” and Its Impact on Social Struggles

Issue No.18 of Here & Now tackles the decline of social struggles, attributing it in part to the growing influence of the “therapeutic” in modern society. Articles by Frank Dexter, John Barrett, and Mike Peters critically examine how therapy culture reinforces social control, suppresses agency, and distances individuals from collective action. The discussion extends into the political left, where an overemphasis on rationality and ideological purity weakens engagement with emotion and subjectivity. This provocative issue challenges readers to rethink autonomy, social transformation, and the evolving dynamics of resistance.

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2025ArticlesInterviewsOnline Exclusive

Stewart Home Interview Part Three

Starting with Come Before Christ and Murder Love, Stewart Home’s books saw quite a departure from his skinhead-influenced early novels. He started experimenting with different approaches to forms of anti-novels in books such as 69 Things to Do with a Dead Princess, Memphis Underground, The Nine Lives of Ray the Cat Jones and most recently Art School Orgy. In this last part of our interview we talk about these different approaches and how they undermine literature as we know it.

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1996Break/Flow 1

Break/Flow in the Shadow City

Break/Flow in the Shadow City is the introductory text by Howard Slater for the first print edition of Break/Flow from 1996.
‘Break/Flow is an autonomous publication that hopes to function in several spaces simultaneously. Though inspired by music, theory, politics, and the literary, it is intensified enough to follow trajectories out of these never once isolatable spheres and inhabit the connections between them. The record is read. The text is played. The historic expands into the present.’

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