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Glojo MAX

Glojo MAX

We’re back, baby! What a weird couple of weeks it’s been. It is possible that I have been places and seen things. Equally, I might just have been hiding under your porch. Either way, doors that were once closed are now open, dust sheets lifted and rooms aired. It’s an autumnal clean of sorts and a time to pick up those bits and pieces that were left spinning, prior to summer break. I could lie and tell you that this was the very Thursday that I planned to be back, that I have a plan at all and that there is some form of method to the madness but I’ve already given the game away and I’m not in the habit of wasting your time.

I have a working theory that either Kenji has weirdly small hands or he is in possession of a 12” maxi

This little number was glimpsed in Kenji Takimi’s record collection, featured in issue 6 of ‘Record Culture Magazine’. I shall confess that I sometimes go through that thing with a magnifying glass and hunt for stuff, much in the same way that a magpie mapgies. I have a working theory that either Kenji has weirdly small hands or he is in possession of a 12” maxi because I could have sworn that I was expecting the latter through my letterbox when I ordered a copy. It even came in 12” card packaging so I was both surprised and delighted when it turned out to be a dutifully charming 10” and that was before I even unleashed the Rosita. ‘Mojo’ (GUM/Barclay/Universal, 2018) is a gloriously sticky yet lean collection of what we colloquially call “bangers”, replete with deep kicks, squidgy synth, and airy sampling that all underpin a fantastic pop vocal. Claire Laffut has made quite a name for herself as both a singer and an artist in her own right; her painting features prominently in the video for ‘Mojo’ and is as consistently lush as the lyrics that accompany the excellent b-side, ‘Garde du Nord’. I would say that it’s all deliciously French but Laffut is actually Belgian and I might be a little bit in love.

New things are here. Namely, projects of a photographic nature. If I mentioned in a previous era that I have come into possession of a 1978 Canon AE-1P, then that was correct and I spent a not inconsiderable amount of time, these past couple of weeks, wandering Brick Lane, its sister streets and shooting that most holy of 35mm gold, Kodak’s Tmax 400. The film is sharp as a needle where needed and serves up silky b&w contrast with two fists. Those of you hooked up to my long-neglected / newly linked Instagram account may have been privy to a few of these shots already but I shall relay them here for y'all wot only Twittors and/or do not ‘gram. I include some market shots - notably of Mr Syd, who is responsible for our cave of sonic honing - as well as a rare shot of Lenny. That cat is a fucker and he knows when you’re gonna shutter. It’s uncanny.

The cyborg or eagle-eyed of you may note that there is a new page in the nav menu, titled ‘Tmax’.

In addition, there is a rather artsy one of The Lady Ess that did good work this week and it might just be my favourite. That being said, special shout out to Mr. Lewis Floyd Henry, who was kind enough to stand up like an OG on two occasions. If you’re still without tickets for his show tonight at the Camden Assembly then I suggest you rectify that ASAP. If you’ve already seen some of these snaps then I have provided a couple of alternates and assure you that the good folks at Eyeculture are at work, bringing you more as fast as their little processing elves can process. The cyborg or eagle-eyed of you may note that there is a new page in the nav menu, titled ‘TMAX’. This is a brand, shiny new page for TNA, kind of like a gallery [exactly like a gallery] that’s exclusively for the use of this project and I’ll be reposting any snaps of that ilk, featured in columns/features/wherever, right there for your future perusal. It’s an OCD thing.

It’s rare for a series to continue on skyward trajectory in this way but ‘Glow’ appears to

There was ample time to binge season three of ‘Glow’ on Newfox and so that’s exactly what we did in no more than three-four evenings. This time ‘round dives deep on those characters you fell hard for in seasons one and two, all while maintaining a laudable sense of pace. The script, wardrobe and score all find time to shine, from the show’s Vegas debut in the wake of the Challenger explosion, all the way through to a terrifically fresh Christmas finale. I posited that it was weird they hadn’t actually waited until the holiday season to release this final episode but a certain individual - who is usually right about these things - explained that they probably had waited until Christmas. 2018. Expecting this theory to play out, I was surprised when, upon closer rummaging, it did not. It was released this August. There must be something to do with story arcs and not keeping an idiot in suspense for too long here but I digress. It’s rare - ‘Stranger Things’ rare - for a series to continue on skyward trajectory in this way but ‘Glow’ appears to be doing a la and I feel like we can be fairly certain that season four is in the pipeline, if not already in existence inside Liz & Carly’s hive mind.

The horror.


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Love & VVords

Love & VVords