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It no longer seems certain that Milton Court will win it’s long-running campaign to be saved, and will disappear under the wrecker’s ball. It’s now official that the latter outcome is guaranteed.

Walking through the building this week, I spotted copies of an A4-sized document pasted next to the walkway signs and on the rough concrete walls. Over the next two weeks, builders will establish 24-hour site security, and welfare and site office facilities will be put in place. Hoarding will also be erected around the perimeter of the complex, and asbestos will be removed under controlled conditions.

That’s it, then. The pre-Barbican site will soon be scaffolded, and another of London’s important architectural landmarks will be lost.

Legendary novelist Daphne du Maurier has long been held in high esteem for her tales of Cornish folk, and though not her masterpiece (Rebecca is widely regarded as du Maurier’s best work), Jamaica Inn certainly does nothing to damage her reputation for finely-crafted stories of thriller and suspense.

I’ll let you in to a secret. Jamaica Inn is actually the first du Maurier novel I’ve ever read, and the first book I’ve been able to concentrate on and get drawn into for quite some time. It’s gripping from the start, and considering it was written over 80 years ago, du Maurier can still show other writers how it’s done.

Set in Cornwall in the Victorian era, the book tells the story of young Mary Yellan from Helford, who goes to Jamaica Inn to live with her aunt and her husband. With a dark and brooding reputation for sinister goings-on, the inn itself has as much character as the humans portrayed within its walls and dimly-lit passages.

From the moment Mary arrives by stagecoach at Bodmin Moor on a wet and windy winter’s night, the story grips you, and as it unfolds, it clings to you, so that simply putting it down isn’t an option.

Du Maurier obviously had talent, as her second novel certainly doesn’t skimp on the details. Almost every nook and cranny of Jamaica Inn is described so well, that when I visited the real-life building on a sunny day in early September, I was disappointed by the tourist trap it has now become.

Rumour had it that a young du Maurier was inspired to write the book after getting lost in thick fog while horseriding and seeking refuge at the inn. A local vicar is said to have entertained her with ghost stories and smuggling tales, erstwhile becoming inspiration for one of the more enigmatic and mysterious characters in the book.

Along with the inn itself, the beautiful Cornish countryside is scripted in such vivid (and sometimes desolate) colour too, that the surroundings, like the inn itself, play as much a part of the story as Mary and the family and smuggling gangs that surround her. Her uncle, Joss, is a particularly nasty piece of work – his brother less so – and is well-deserved of his fearful reputation.

Slowly unravelling the horrors that Jamaica Inn has seen and continues to see, she confides in a local vicar, and her uncle’s brother, but is there really anyone she can trust?

Discovering and becoming part of the bloody and violent smuggling stories herself, Mary longs to draw attention to the wicked tales that are kept secret within the corridors and locked storage rooms of her uncle’s feared drinking establishment.

A compelling read, du Maurier brings each scene to life with her descriptions of settings and human emotions, leaving little to the imagination. And that’s why this book shines.

So little work is needed to set the scene that you can enjoy the story and follow its twist and turn-filled journey wholeheartedly, all the time enjoying the interaction between the characters and their relationships, and seeing how they (or how you think they) fit into the story.

Rebcecca is sitting on my bedside shelf, waiting to me to open its covers and begin reading its tales. On the basis of Jamaica Inn (and the promise of an even more wondrous and accomplished book), it won’t have to wait long.

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It’s been possibly the most-hyped, most-talked about, and most-anticipated pop album of recent times. And, it seems to be available in as many formats to match its numerical title. What am I talking about? As you can see from the picture above, it’s Kylie’s ‘comeback’ long-player, ‘X’.

You can add most-leaked album to the above list, too. As early as the spring, leaked demos where scattered all over the Internet, and excited fans were downloading them at such a rate that if Parlophone could turn those hits into sales, they would undoubtedly eclipse the current number four album chart slot of ‘X’ proper.

The net was abuzz with activity, and chat rooms and music forums groaned under the weight of fans’ posts, good and bad. Even eBay saw CDs stuffed to their limit of new Kylie tracks, just waiting to be snapped by devoted Kylie worshippers.

And yes, some of them didn’t escape my desktop, although I cottoned on too late, and found ‘this file has been removed’ warnings at a few of the download locations.

Then there were the denials. It didn’t matter if the tracks had leaked, because a few of them weren’t Kylie anyway, but a session singer that Parlophone had used to demo the songs. This jury’s still out on that one…

And as for the formats, boy it’s complicated. The standard CD is available in a shiny rounded-corner super jewel case, while the special edition comes with a DVD with a track-by-track interview by the lady herself.

And both of those are before the download collections. The iTunes pre-order version comes with two bonus tracks, ‘Magnetic Electric’ and ‘White Diamond’ (Piano Version), while the regular iTunes package comes only with ‘Magnetic Electric’ as a bonus track.

Some Japanese pressings come with lavish packaging, while in some markets it is the first EMI release to come in the yet-to-take-off USB stick version. (It is a very cute USB stick, though.) See what I mean about being available in almost 10 formats, paying homage to its title?

Anticipation, denials, formats, hype, and leaks aside, how does Kylie’s first original studio album for four years fare? Well, for a kick-off, it’s better and much more cohesive than its predecessor ‘Body Language’, although that did have its moments.

But, anyone wanting comeback Kylie to reflect on her tumultuous couple of years will be disappointed. Only two tracks come close to mentioning events from 2005. The rest is electro-Kylie doing what she does best.

Reviews from some quarters have remarked on her ‘absence’ from ‘X’, with little of her personality shining through, and lots of electronic voice tinkering. To be fair, they have a point, but surely we couldn’t have expected anything that deep from Miss Minogue?

Fiercely guarded and private, this album was never going to reveal her deepest thoughts. It’s just joyous, electronic, danceable pop. Oh, and, her best album for quite some time. Here’s the full track rundown:

2 Hearts
Glam-rock tinged opener and first single that recently announced Kylie was back. But, was it that bad a choice for the ‘comeback’ single? I don’t think so. It had me hooked within minutes. And that video wouldn’t go with anything else.

Like A Drug
The second track, and an electro-stomper that supposedly pays reference to Visage’s ‘Fade to Grey’ from 1981. I couldn’t hear the resemblance at first, but toward the end of the song when the vocals are stripped down, the bass line and chords are clear.

In Your Arms
This is a shortened version of one of the many leaked tracks. A cymbal or high-hat-lead intro bursts into an electronic-pulsed and 1980s-sounding track that almost stops at the start of each chorus, before searing into life again.

Speakerphone
Harsh critics have likened this to Steven Hawking talking to his answerphone. But, what do they know, anyway? A harp at the start plays tricks, and leads into a beat-driven bass line, with an admittedly very vocoded Kylie singing over it. One of the handful of songs that I thought I wouldn’t like, but it surprised me, and I do.

Sensitized
Forgiving the US spelling, this track is another one of the leaks. Based heavily on a sample of Serge Gainsbourg’s ‘Bonnie and Clyde’, it’s a slower, and some would say sexy number. Sashaying along at a slower pace, it reminds me of Kylie riding the giant jellyfish on her recent ITV1 TV special.

Heart Beat Rock
Calvin Harris-produced, and again, not one of my favourites on first listen. But it is a grower, and its hip-hop/R&B and twisted electronic vibe find their way into your brain. Stops mid-song too, which is unexpected.

The One
This is one of ‘X’s stand out highlights, and must be the next single. Yes, it propels Kylie back to gay icon of epic proportions, but it’s none the worse for that. Reminiscent of a modern-day PWL slice of pop perfection, the searing, simple and repetitive chorus calls you to love Kylie, as she is ‘the one.’ On evidence of this, everyone should do.

No More Rain
The first track on the album to reference her cancer recovery, the lyrics reference Kylie’s thoughts about what it must feel like to go back on stage. Another highlight – although of a gentler nature – references to Madonna’s ‘Ray of Light’ can be heard, and even All Saints’ ‘Pure Shores’. The multi-Kylie overdubs and harmonies please.

All I See
I was ready to not like this one, too. Kylie does R&B? Not normally a good recipe. But, here, she excels. Reminding me of TLC, other critics have referenced Janet Jackson. Whoever inspired it doesn’t matter. It’s good, and Kylie makes it her own.

Stars
Another popular leaked and YouTubed track, I can hear shades of Human League in this one’s bass line. With a catchy chorus and ear-filling sound, it’s another winner.

Wow
Showcased on The Kylie Show, at first listen this one sounds like something that a near 40-year old woman shouldn’t be singing. Other reviewers have likened it to Madonna’s ‘Holiday’ from 1985, but I think it’s more a ‘Love At First Sight’ for 2007. Another highlight.

Nu-di-ty
It’s hip-hop Kylie again. I didn’t like this at first, but it has grown on me. With its almost stuttering ad vocals and whoops, it could be a harder-edged sister track to ‘Heart Beat Rock’. Still not a favourite though. I’d have preferred bonus iTunes track ‘Magnetic Electric’ (more of which later) instead.

Cosmic
Along with ‘No More Rain’, ‘Cosmic’ is the second of Kylie’s self-penned efforts, and together with that song, one of the most normal musical moments on ‘X’. With no voice wizardry in sight, it relies on its fluttering drumbeats and wavering strings to pull in the listener. Weak on first listen and stronger on subsequent ones, its fastly sung chorus lines add to the gentler feel.

Rippin’ Up The Disco
Hidden away on the Internet, and accessed by inserting the album CD and following the download web links, this is another electro-stomper. Catchy, with pulsating a bass line and overdubbed vocals, it’s another track, which should maybe have been included on the disc proper.

Magentic Electric (iTunes bonus track)
This too should have been included on the regular CD package. With a fizzy, fuzzy, buzzy bass line, a bit of electronic voice trickery and a catchy chorus with searing vocals, it’s one of the highlights from the ‘X’ sessions, for which at least 40 tracks were reportedly recorded.

White Diamond (iTunes bonus track – pre-order only)
This is of course, a down-tempo piano version of the Scissor Sisters electro-belter that replaced ‘Giving You Up’ on the Showgirl: Homecoming’ tour. It works much better as a torch song, too, with Kylie’s vocals to the fore. Promoting the film ‘White Diamond’ it’s a nod to pre-treatment and pre-‘X’ Kylie, and I guess it was only included here to promote the film’s DVD release. No matter though; it’s a highlight.

That’s it, then. Or is it? I think the ‘X’ story has only just begun. It will be interesting to see how Kylie translates the songs into next year’s ‘KylieX2008’ tour, but I feel this album might not be quite the disappointment some reviewers say it is.

Yes, I do wonder how long an almost 40-year-old woman can song about dancing, but it never stopped Madonna, did it? Surrounding herself with the producers of the moment was always going to allow Kylie to produce something slick, too.

It’s a shame ‘Lose Control’ didn’t make the cut, though, and a release of out-takes from the ‘X’ sessions must surely be on the cards.

As that cover picture with a knowing look shows, maybe Kylie does know what she’s doing. After all, the anticipation, denials, formats, hype, and leaks aside, ‘X’ marks the spot of one of the best musical moments of Kylie’s career.

It’s bouncy, bright, effervescent, and shiny pop music at its best. The electronic style still suits her well, and ‘X’ could be a return to the early days of her post-2000 career resurgence, which, for someone who has just celebrated her twentieth year in music, can be no mean feat.

Welcome back Kylie.

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Country and Eastern really is a magical place. Jeannie and Philip Millward’s temples of treasures are filled to the rafters with fascinating objects from Turkey through the Indian subcontinent to East of Java. Antique furniture rubs shoulders with ceramics, oriental rugs, textiles, and wood carvings, all directly imported from far-flung places.

Tending to buy from smaller family-run business, the company is keen to keep traditional crafts alive. Passed down from generation to generation for centuries, these techniques have long-formed the basis of decorative furnishings from the countries with which Country and Eastern trade.

And so it was on Saturday afternoon, in the unlikeliest of places, we found some dining room furniture that may hold the answer to the almost unsolvable storage dilemmas at the house. Stumbling through the stone-flagged aisles, dodging the ornately carved Far Eastern temple seats, columns, and arches, Nik found exactly what he was looking for.

So, sometime over the next couple of weeks, two traditionally carved and latticed sideboards will be the finishing touches to the back room that has already swallowed up a reclaimed teak timber dining table and chairs.

Poor boy - I don’t think he could quite take it in that after seemingly endless months of looking, he’d finally found two pieces of furniture that would not only fit in the room itself, but also fit in with (as much as he would want them to) and complement the recycled timbers bought sometime ago.

Even the building that houses the fascinating wares is fascinating. Built over a century ago, the Old Skating Rink Gallery in Bethel Street saw its last pair of roller skates cross the then open floor decades ago, but the balconies from which spectators mingled and gazed in wonder at this new-fangled craze remain. The only difference in 2007 is that rugs now hang over the rails where well-to-do ladies and gentleman socialised in 1877, while adults and children alike whizzed around the floor beneath them.

Just as 130 years ago, the magical building still inspires visitors to gaze in wonder. These days though, it’s not exciting new pastimes but majestic displays of old crafts and traditions that encourage people through the doors, with some, like the objects inside, from far-flung places themselves.

…really is cold. The heating has stopped working. Again. And not only in the flat. Just as the weather turns colder, warmth temporarily evaded the houses in Chelmsford and Galleywood at the weekend.

They should be fixed now, and I have a plumber coming to the flat on Wednesday to look at the radiators and the semi-working wireless heating system that could be in need of replacement.

It really isn’t happy. The digital thermostat in the hallway sends a signal to the wireless receiver in the pantry, which determines if heating is needed according to the temperature reached by the thermostat.

Or at least, it should do. It’s reported an ‘alarm’ error for the last few days, which necessitates mindless and time-consuming resetting of the system, which I did almost every night last week.

Something’s definitely not right somewhere, as the supposedly technologically-advanced system did much the same this time last year. While the radiators are warm in some rooms (though not hot), others are freezing. Maybe the pump’s not working properly; the boiler certainly seemed to be when I looked last night.

I’ve never known a winter with so many people experiencing problems with keeping warm. Not that it really mattered a great deal at the weekend, as the cold stayed away long enough for fun with family visitors.

It returned in time to jump start the car, though, as lots of traffic on Friday morning had left me flustered enough to leave the lights on, resulting in a very flat battery, and an-almost tired-looking Polo, drained of any power it might have had.

But, as we were hot-footing it from house to house, and house to shops, we rarely stood still long enough for it to bother us that much (though mooching around Freeport in Braintree yesterday really was, quite literally, freezing). And with toasty showers waking us up at the house, the mornings definitely had warmth to them.

Hopefully all will soon be well (and warm) at the flat once more, too (bar the ticking radiator – which I’m assured hasn’t got any air in it), and I can stop sitting wrapped up on the sofa in the evenings. The weather’s not even properly cold yet, so I don’t want the catalogue of heating problems to get worse, costing even more to get fixed.

It’s almost enough to make to you hot and bothered.