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Archive: Television

The art of good guesswork

5 July 2010 23:30

Categories: *, Entertainment, Film, Personal

Over the past year or so, I have become a big participant in pub quizzes. Quite quickly, I gained a reputation among my friends for being reluctant to guess.

This is an issue for our pub quiz team, because we have a few major weak areas. Part of this is down to our youth. All of us are around 23 or 24, making us among the very youngest of the regulars. As such, we are disadvantaged when it comes to questions about decades before the 1990s. This quiz contains many ‘guess the year’ questions. We also have big gaps in our knowledge in films, television and sport.

As such, it is important for us to be able to guess. So I understand why my fellow team members might be frustrated when I begin to pick apart the guesses we do make.

But the notion that I don’t like guessing is not quite true. What I cannot abide is bad guesswork. This is because I have realised there is a real art to guessing.

Taking a complete stab in the dark won’t do. Questions themselves are full of clues, even if they have been neutrally written. You just need to sniff the clues out.

I often ask myself questions about the question. What makes this an interesting question? What makes it something worthy of a pub quiz? Is it something topical? Is the answer perhaps amusing or ironic?

Many are tempted just to put down any old answer, as it’s better than nothing. And that’s fair enough if you don’t have a better idea. But bland answers don’t make pub quiz questions.

A few weeks ago we were given the following question: “Who starred in a 1950s public information film saying, ‘take it easy driving; the life you save might be mine’?”

I have to admit I didn’t have the foggiest idea. But I started to ask questions about the question. Why is this question interesting? It won’t just be any old person, because bland answers generally don’t exist in pub quizzes. It might be an interesting answer if the person who appeared in a public information film about speeding went on to die in a car crash.

So then I moved on to thinking of famous people of the 1950s who have died in a car crash. One person immediately sprung to mind, and it seemed like the perfect answer: James Dean.

Later, when the answers were announced, our quizmaster — and the owner of the establishment — started chuckling as he read over the answer to this particular question. “If anyone gets this right, I’ll give them £100.” It was looking good for us — my suspicion that it had to be an ‘interesting’ answer seemed to be correct.

The answer was indeed James Dean, and we were the only team in the whole pub to get it right. Sadly, the landlord didn’t stay true to his promise, even when we suggested a donation to charity!

Here is the “public service announcement” in question (which, according to Wikipedia at least, isn’t actually a public service announcement at all):

For me, this was one of the highlights of my pub quiz career so far, for a variety of reasons. Due to the format of this particular round of the quiz, for our team this question was the most important of the 25. So it was ultra-satisfying to get it right.

The amazing thing is that I didn’t have a clue. I had never heard of this footage. I just read the question and sniffed the answer out.

It underlines the importance of good guesswork. Every other team in the pub took a stab in the dark. Perhaps if they had asked questions about the question, more of them would have got it.

Sadly, even excellent guesswork skills aren’t quite enough to fill in all the gaps in our knowledge. While a few times we have won the “bingo” round (which involves a heavy element of luck), we have yet to win a proper pub quiz round. We are getting closer though, and I am learning more about how to guess all the time.

2 comments

Trouble brewing at both Red Bull and McLaren?

30 May 2010 19:18

Categories: Formula 1

I was absolutely buzzing after the Turkish Grand Prix, a race that had almost everything you could ask for. Even though superficially all the pre-race hype had Red Bull easily in the lead, it turned out that McLaren have turned up the wick and give them a really hard fight.

Red Bull hung on to the lead, as McLaren failed to take advantage during the pitstops. Thereafter, we were treated to an amazingly tense battle at the very front, with all four front-running cars running within a couple of seconds of each other after the pitstops had taken place.

I am struggling to think of any other time when the front-running cars were so close to each other so far into the race. For me, this was racing at its very best. Who needs refuelling?

Red Bull threw away a “sure-fire 1-2″

By lap 40, the McLarens had fallen back a tad, but Sebastian Vettel was still racing closely with Mark Webber. It transpires that Webber was using up more fuel than Vettel, with the German able to save fuel while running in the race leader’s slipstream. Webber therefore had to start conserving fuel sooner than Vettel, whose pace had picked up.

That gave Vettel the golden opportunity to seize the race lead. But disaster struck when the two collided in the most dramatic fashion as Vettel attempted to overtake. The German had to retire, but Webber limped on to the pits and ended up in third place.

It’s one of the most extraordinary things I can remember seeing in F1. This is exactly what I love about the sport. Once you think you’ve seen it all, something even more incredible happens. Red Bull should have had an easy 1-2. But after being pressed by McLaren, Red Bull have ended up, in the words of team boss Christian Horner, handing 43 points on a plate to McLaren.

Red Bull face a driver management nightmare

It is the worst case scenario for Red Bull, not only because a relatively safe 1-2 was lost. The team management now has a complete nightmare job — it must try to keep both drivers happy when inevitably fingers are being pointed and jabbed in opposite directions.

Initial reaction was that the crash was Vettel’s fault. He had half a chance to pass Webber, and bit off more than he could chew. While the speed advantage ensured that Vettel could run alongside Webber, he wasn’t quite fast enough to overtake cleanly. Presumably worried that he would be compromised going into the corner by running so close to the left edge of the track, Vettel turned in towards Webber.

Webber held his line, having given Vettel just enough space and no more. Even though the onboard footage shows Webber trying to steer slightly to the right, Vettel’s steering movement was much more extreme, and he ended up colliding straight into his team mate’s car.

My brother and I strongly disagreed about this during the race. I feel that it was Vettel’s responsibility to ensure that he could overtake in a clean manner. Webber left enough room for Vettel to run alongside him, and it was Vettel who changed direction. This appeared to be the broad consensus viewpoint among most F1 pundits.

It is highly surprising therefore to see the Red Bull management appear to come out in Vettel’s favour, at the risk of upsetting Mark Webber even when most people are taking Webber’s side. If I was Mark Webber, I’d be pretty pissed off by this turn of events.

In a way, you can understand why the team would want to back Sebastian Vettel. He is clearly the team’s best long-term hope, even if in the short- to medium-term Mark Webber is often the faster of the two.

Moreover, Vettel is the only tangible evidence of a vaguely successful driver coming out of the Red Bull young drivers’ programme which the drinks company has poured so much resource into. I am sure Helmut Marko is a proud person, and he would like to think of himself as a mentor to the drivers he that have been through his drivers’ programme over the years. Mark Webber is only at Red Bull to plug the embarrassing vacant gap left over by the complete lack of any other decent drivers to emerge from the programme.

Helmut Marko may deny that the team favours Sebastian Vettel. But the fact he and his colleagues in the Red Bull Racing management have been prepared to publicly blame Mark Webber for the incident — when the vast majority of the F1 community holds the opposite point of view — is indicative.

F1 journalists have certainly been left surprised by Red Bull’s actions after the race. Will Buxton has been particularly vociferous on Twitter, first saying: “Total BS being smelt around the paddock.” He later added:

Helmut Marko – “Vettel was 2 metres ahead”. Riiiiiight. That’s why he and Mark made contact, yeah? Red BS stinking up the place.

Did McLaren also crack?

Meanwhile, are things quietly unravelling at McLaren too? It has not been attracting as much attention, but it’s worth pointing out that the race between Lewis Hamilton and Jenson Button was also distinctly odd.

At the very same point of the track a few laps later, Jenson Button got a run on Lewis Hamilton, and the pair had a ding-dong battle for several corners. Luckily, this time round both drivers were more sensible. A good, tough, clean fight was the main result.

Button briefly led, but Hamilton ultimately prevailed. Immediately afterwards, Button suddenly fell right off the pace.

After the race, I thought Lewis Hamilton looked a bit wooden and tense on the podium. Both Martin Brundle and Anthony Davidson picked up on his unusual body language, which seemed quite negative for someone who had just won a race.

Both McLaren drivers seemed confused when they were talking to each other just before going out for the podium ceremony. They were having an interesting conversation until it appeared that they suddenly remembered a camera and microphone were picking up their conversation and broadcasting it on the FOM world feed!

The tension between the driver’s interest and the team’s interest

This pair of situations throws the issue of team orders back into the spotlight. Superficially, team orders are banned — but that doesn’t stop teams giving drivers cryptic messages, or using mechanisms such as instructions to “save fuel” in order to slow down one of the drivers.

Team orders shouldn’t really be banned, as it is understandable that teams will always want to look at the bigger pictures as far as the whole team is concerned. It has always been a part of motor racing, and always will be. But there is always a tension when a driver disagrees with the team’s view.

This tension between the driver’s individual interest and the need for a driver to also play a role as a “team mate” is one of the most fascinating aspects of Formula 1 for me. It doesn’t actually crop up all that often. But when it does, the results can be explosive, as we have seen today.

We have seen that in both front-running teams in Turkey. The situation arose with both teams because — uniquely — all four drivers were running so close with one another. Even fourth placed Button could literally see the leading car at all points during the race. Each one of those four drivers would have felt like they had a major chance of winning today. That’s when egos collide, and team orders begin to unravel.

McLaren’s engineers said over the team radio that “we pushed them and they cracked”, referring to Red Bull. Given Helmut Marko’s comments that Vettel needed to push Webber because he in turn was being pushed by Hamilton appears to vindicate this. But, in their own little way, did McLaren also crack today?

Update: See also the BBC’s Andrew Benson discussing the situations at Red Bull and McLaren.

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My top twenty albums of 2009 — part one

30 December 2009 01:04

Categories: Entertainment, Music, Reviews

Music of 2009

A series of posts

My top twenty albums of 2009 — part one
My top ten albums of 2009

It is the end of the year. I like music. That can only mean one thing: a run-down of the music I have bought this year, arranged into vague order of how much I enjoyed them.

In this twentieth anniversary year of Warp Records, it has been a stonking year for the label in my view. After some pretty disappointing years, 2009 was the year they showed that there is life in the label yet.

This year I also reached further into the past, while continuing to buy contemporary releases. Old soundtracks and music inspired by the past are heavily featured in this list.

Here is part one of my list, spanning from number 20 to number 11.

Links are to Spotify where available.

20. Andrew Bird — Noble Beast

I would not normally have made this purchase. But I decided to experiment with asking for recommendations using Twitter. Noble Beast was the first suggestion I received, and I’m glad I followed it because it is a rather pleasant album. I particularly enjoyed ‘Not a Robot, But a Ghost’.

Original article about Noble Beast

19. Hudson Mohawke — Butter

I am not yet sure what I make of Butter. If the garish cover wasn’t enough to put you off, the music is in many ways equally garish. Yet there is something enticing about the sound of this album, which mixes out-there electronic sounds with the pop-funk sensibilities of OutKast. This track, ‘Rising 5‘, is available to download on the Warp Records website.

18. Jarvis Cocker — “Further Complications.”

This should have been a fine album by a national treasure. Certainly, Jarvis Cocker’s first solo album was decent enough. As it transpires, though, “Further Complications.” is merely an okay album with some strangely messy-sounding production. It does, however, have a few great moments. I particularly love the closing track, ‘You’re In My Eyes (Discosong)‘.

17. Squarepusher — Solo Electric Bass 1

While Squarepusher is best known for being an electronic music maverick, he has become an increasingly notable bass guitar player. At last, this other side of his musical talents has been showcased on a full CD, Solo Electric Bass 1. While it may be a bit too noodly and self-indulgent for some, and there is no doubt that it is a pretty dense listening experience, there are plenty of moments to enjoy and savour. Such as this piece, ‘seb-1.03′.

16. Harmonic 313 — When Machines Exceed Human Intelligence

Mark Pritchard transmogrified from his similar-sounding Harmonic 33 to Harmonic 313 with When Machines Exceed Human Intelligence. The projects’ two sounds are radically different, although approached from the same perspective: creating a sound that is heavily influenced by electronic music of the past. Harmonic 33 brought library music to life. Harmonic 313 turns to the dystopian 1980s, with a worry that artificial intelligence will one day become too intelligent and usurp the human race. Here is the closing track, ‘Quadrant 3′.

15. Clark — Totems Flare

I am still not sure that Clark is fulfilling the potential he promised with the 2001 release of Clarence Park, which I still think is his best album. However, with Totems Flare he has taken yet another step in the right direction. While earlier material was too heavily indebted to other artists, Clark has really begun to carve out his own sound. The major innovation in Totems Flare is the increased use of vocals, as demonstrated on my favourite track on the album, ‘Rainbow Voodoo’.

14. Belbury Poly — From an Ancient Star

Jim Jupp is the celebrated co-founder of the Ghost Box record label, which specialises in releasing a particular type of music (sometimes known as ‘hauntology’) which is heavily influenced by psychedelic and folk music of the 1960s and 1970s, library music, public information films, programmes for schools… with a dark twist. Although I prefer some of the other artists on Ghost Box, Jim Jupp’s Belbury Poly project is still one to keep an eye on. From an Ancient Star represents a progression in the Belbury Poly sound. This is ‘Adventures in a Miniature Landscape’.

13. Edward Williams — Life on Earth

Anyone who has an interest in vintage soundtracks or music for television will adore the soundtrack to Life on Earth, the seminal 1979 nature documentary series. It is beautiful and haunting, with a gentle and entrancing use of electronics. It was released this year after a series of coincidences, beginning with one of the 100 privately-pressed records being found in a charity shop. The quality of the recording is not great, meaning that you have to peer a bit to hear it. But this just adds to its charm.

12. Roj — The Transactional Dharma of Roj

Former Broadcast keyboardist Roj Stevens this year released his début solo album, a masterful foray into the mysterious. Roj has created a curious and slightly creepy album — just as you would expect from a Ghost Box release. Imagine eastern spiritual vibes being interrupted by imaginary transmissions from fictitious Soviet stations.

11. Jonny Trunk — Scrapbook

Jonny Trunk, of the eponymous record label that specialises in “music, nostalgia and sex”, this year released a collection of snippets of music that he has worked on in his spare time. Purposefully, it has not been carefully packaged. It is called Scrapbook for that reason. The tracks retain their working titles, and are sequenced in alphabetical order. But despite the apparently slapdash nature of the release, there is something magical and charming about this album. Just as you would expect from Jonny Trunk, it is equal parts nostalgia, humour and brilliance. One highlight that encapsulates this is ‘Hawks‘.

« — Next in series »

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Brilliant Brazil

20 October 2009 23:01

Categories: History, Report

I love the Brazilian Grand Prix. It is a unique circuit — not only anti-clockwise, but uniquely short in the same way you might think of Spa-Francorchamps as being uniquely long.

It is also special because it has now comprehensively replaced Suzuka as the proper place to settle a World Championship, particularly due to its useful time slot. It is on prime time on European television. That is another unique aspect of Brazil, due to the lack of North American races this year.

So it was most fitting that Jenson Button managed to seal the deal in Interlagos, even when it seemed further out of his grasp than ever. A disastrous qualifying session sent us off the scent. The only saving grace was that Vettel’s was almost as bad. But his main rival Barrichello was on pole at his home race.

Unfortunately for Barrichello, he never gets any good luck at Interlagos, even when he is doing well. I will never forget the tragedy of his car breaking down in 1999 while he looked like he could win the race driving for Stewart. His bad luck struck again.

After a strong first stint which he led with relatively little challenge, he somehow managed to lose the plot by failing to push hard enough at the start of his second stint, handing the lead to Mark Webber. Later in the race came his tangle with Lewis Hamilton, which resulted in a puncture for Barrichello.

(Apparently Lewis Hamilton can’t go to Interlagos without having an eventful time. Hats off to him for ploughing his way up to a 3rd place finish from 17th on the grid.)

In normal circumstances, therefore, we would normally be talking about Mark Webber’s fabulous win. And Pink Peril was right to point it out in the comments to my previous article. Mark Webber did a great job — the one person who managed to do well in both qualifying and the race.

He certainly had a better weekend than the Red Bull driver who needed it, Vettel. It was suspected that Red Bull would do well thanks to the “testing” Webber was able to do at Suzuka. Sadly we didn’t see much of Webber’s race because the television cameras were more focussed on the Championship protagonists.

As for the Championship winner, Jenson Button, I would say he had the race of his season — possibly even the race of his life. It really is as though his bad qualifying performance gave him the kick up the backside he needed. I read one story today which said that after his poor qualifying, he texted his mum to say, “Don’t worry mum, we’re going to kick some butt.” She replied, “Good, go and kick some butt.”

It was as though a barrier had been passed. Button was no longer defending his lead, as he had been since the start of the season. The tide had turned so far that he now had to attack to win. And attack he did!

His aggressive and ballsy driving was captivating to watch. He was already 9th by the end of lap one. Once the Safety Car period was over, he was ready to line up Romain Grosjean, and in the process took a risk by going round the outside. I thought Grosjean did a solid job when racing side-by-side for two or three corners against Button. Button put a lot of faith in the inexperienced Grosjean not to do something silly. But both came out of the fight looking good.

Within a lap, Button got past Kazuki Nakajima in a rather risky move at the Senna S. Several laps later, also into the Senna S, he finally got past Kamui Kobayashi who was in his first race. After that, as the pitstop strategies shook out, Button found himself looking good.

There has been some criticism of Kobayashi’s driving, particularly weaving in the braking zones. Certainly he pushed it too far later on in the race when he was involved in a high-speed accident with Nakajima. But his defensive driving against Button impressed me and suggests that Kobayashi has promise, even though he wasn’t particularly good in GP2 (like Nakajima).

While there was some decent racing going on for most of the race, the majority of the action came on the first lap which was rather crazy. My theory is that they just decided to do a Wacky Races thing because it was on prime time.

First there was the accident which brought an end to the races of Adrian Sutil, Jarno Trulli and Fernando Alonso. Alonso was so placid about it that the BBC’s commentators did not even notice him at first. He just trudged nonchalantly into his lift. I sense that he really has just been going through the motions, awaiting his big chance in a red car before exerting himself once again.

Little wonder Alonso went by unnoticed, because Jarno Trulli was running up to Sutil and gesticulated in quite a threatening manner. I am struggling to remember the last time I saw a driver so angry. It looked like it was going to turn into this sort of moment!

I am struggling to see what Trulli was so worked up about. Maybe Sutil could have left Trulli some more room, but I think Trulli was optimistic trying to overtake him there anyway. And it is not as if Sutil drove into Trulli. In fact, before Trulli loses control of his car you can see Sutil clearly make an attempt to steer away from Trulli to give him more space.

It was a racing incident in my book. But the accident that resulted was quite a high-speed one, which I guess is why Trulli was so rattled.

Then there was the pitlane fire, when Heikki Kovalainen drove off with the fuel hose still attached. It wasn’t Kovalainen’s fault — he was instructed to leave, but the fuel hose was still attached.

I really am confused as to why we get so many more of these incidents these days. I can’t remember ever seeing a driver leaving with his fuel hose still attached until Jenson Button did it at Imola in 2006. Since then there have been several, from Christijan Albers (who was effectively sacked for it), to Massa in Singapore last year and Alguersuari in Singapore this year, to Kovalainen now. And I’m sure there are one or two more that have slipped my mind.

The increasing frequency of these incidents is quite alarming, particularly when so much attention was given to Ferrari’s pit lane incidents in 2008. Surely teams and drivers must be more aware than ever of the possibility, and it is just bizarre that it keeps on happening over and over again now.

Massive, massive kudos to Kimi Räikkönen for driving through the fire which resulted from Kovalainen’s premature pit box exit. The fuel was more or less being sprayed into his face, and flames briefly exploded all around him. Yet he kept his foot down and kept driving.

After the race, he said his eyes were still burning! Yet he plodded on. As far as I’m concerned he could have been blinded by that sort of thing. He must have huge balls. And people say he doesn’t have motivation.

One last thing to mention — Robert Kubica. He finished 2nd, his best result of the season, after starting 8th. He had a great restart when the Safety Car pulled in — he was right on top of Nico Rosberg and passed as soon as he could. I am sorry that Kubica has not been able to show more of his talent this year. I hope Renault can build him the car he deserves.

Next we head to the brand new circuit in Abu Dhabi. The last time the Championship was decided before the final race of the season was in 2005. Then we were treated to one of the best Grands Prix there has ever been, the breathtaking 2005 Japanese Grand Prix. Maybe the same end-of-term atmosphere can spice up Abu Dhabi, which aside from the gimmicky pitlane exit looks like it will be another bland Tilke operation.

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20 years of Warp Records

15 September 2009 21:59

Categories: *, Entertainment, General, Music, Personal

Warp20

A series of posts

This month the seminal Warp Records label is celebrating its 20th anniversary. There is a heap of festivities planned, and I am expectantly waiting for the very awesome looking Warp20 box set to arrive in the next week or so.

They have a lot to celebrate. The label has personified the cutting-edge of electronic music for most of its existence. Few labels can claim to have been so seminal, and remain so strong for so long.

I discovered Warp at the beginning of this decade. I had already been developing a taste for experimental and electronic music, but before getting internet access I had no way to explore it. I had heard bits and bobs about Warp, but my first real exposure was when I saw the band Broadcast on one of those late-night music programmes on Channel 4. I remember very little about it, but I think the song that mesmerised me so much must have been ‘Illumination’. Here is a video of the band performing it live in 2005.

Once we got the internet, I was able to explore further. When I visited the Warp Records website, ‘Eros’ by Tortoise was playing on its front page. It was one of the most amazing and unique things I had ever heard.

The mixture of soaring sci-fi electronic sounds, intricate multi-layered drumming and funky guitar playing transformed my expectations of what music could achieve. Compared to the standardised indie-rock I had previously been listening to, hearing something as distinctive as this was an utter revelation.

I knew I had to continue on the path of discovery. Given that Tortoise shared the same label as Broadcast, there could be no starting point other than Warp. I was also quickly. attracted by Warp’s striking visual identity, which was largely shaped by The Designers Republic.

As I investigated the artists of Warp on the label’s website, I was surprised and delighted to discover a huge variety of new (to me) and exciting music. It is no surprise that today many of my favourite albums are ones released by Warp in 2001, when I was 14 and discovering all this amazing, diverse music.

But the Warp I discovered was already very different to the Warp that began in 1989. Back then, the promise of label founders Steve Beckett and Rob Mitchell was for the Sheffield-based Warp to be a “recognised, credible, uncompromising dance label”. Inevitably though, a label cannot survive 20 years without evolving.

Between 1992 and 1994 the label released the seminal series of albums including the eponymous compilation Artificial Intelligence. The idea behind the series was to showcase “electronic listening music” which designed more for home listening than the dancefloor, or more for your head than your body. This series contained music by musicians that were later to become huge: Richard D James (best known as Aphex Twin), Autechre, Black Dog Productions (containing the members of Plaid), Alex Paterson (from The Orb), Richie Hawtin among others.

The cover of Artificial Intelligence depicts a robot reclining in an armchair with copies of Pink Floyd’s Dark Side of the Moon and Kraftwerk’s Autobahn lying on the floor — an indication of Warp’s ambitions. The label became the most famous outlet of what is known as Intelligent Dance Music or IDM.

The IDM moniker makes everyone cringe. Few of the best IDM artists think of themselves as IDM, and the artists that describe themselves as IDM are usually not worth listening to. Musically, it might be fair to describe it as dance music’s equivalent of progressive rock. It was the necessary next step, but is denigrated by those who think it is too pretentious and impossible to enjoy.

Like prog rock, IDM had a limited shelf-life and it peaked around the turn of the decade. Electronic music as a whole is not the money-maker it once was. So Warp have further diversified. In the words of Steve Beckett, “probably the first sacrilegious move” was to sign Seefeel in the mid-1990s. They are a more conventional band with guitars and drums, associated with shoegaze as much as techno.

More non-techno artists followed, including the jazzy trip-hop act Red Snapper, 1960s-influenced Broadcast and, er, the downright odd Jimi Tenor (I never really got that one). There was also an increased focus on hip-hop with the likes of Prefuse 73 and the Antipop Consortium. Later, there was a distinctive move towards more conventional rock. This was most notable, controversial and successful with the chart-friendly indie-rock band Maxïmo Park.

Today Warp has artists as diverse as its history suggests. It probably remains best-known for electronic music leaders such as Aphex Twin, Autechre, Boards of Canada and Squarepusher. But on the same roster you can find electro-rock shape-shifters Battles, folk-rock bands like Grizzly Bear, the increasingly soul-oriented Jamie Liddell, hip-hopper Prefuse 73, indie band Maxïmo Park and even the satirist Chris Morris. Oh, and in addition to music they also now make films.

This diversity has been good and bad. Undoubtedly Warp lost its way a bit a few years ago as it struggled to find its feet after electronic music waned in popularity. But even after twenty years, Warp remains a path-finding label that anyone interested in experimental pop music should keep an eye on.

When I discovered Warp in 2001, the range of styles on offer was already massive. But each artist was notable for being interesting and innovative. It was easy to view the Warp label as a mark of quality, no matter what the genre was.

Long may it continue. There is absolutely no question that Warp Records transformed my outlook on music more than anything else. I am looking forward to the next 20 years of innovative music.

Over the next week or so I will write about 20 of the most interesting Warp albums from its 20 year history.