The country lurches back into its usual routine this week. But with the new year comes changes, and a vital part of everyone’s daily life — the radio — will seem very different.

My parents are concerned about what will happen to Radio 2 after the departure of Terry Wogan from breakfast. They were not happy to hear that his replacement will be Chris Evans. My parents originally stopped listening to Radio 1 when Chris Evans took over the Radio 1 breakfast show. (Quite how they tolerated Steve Wright before this is beyond me though.)

I get the feeling that they will stick with Radio 2. Chris Evans is a very different broadcaster to what he was ten or fifteen years ago and has apparently pleased most people with his performances on Radio 2 so far.

While Terry Wogan’s last show was the one that caught all the headlines, the end of two other radio programmes will be far more disruptive to my routine. I was not a listener of Terry Wogan’s, though I don’t suppose I am really part of his target audience.

The end of Adam and Joe

Much bigger news in my world has been the end of Adam and Joe’s programme on BBC 6 Music. They are raising the drawbridge at the Big British Castle for an indefinite period while Joe Cornish focuses on his new career as a film director.

This programme has been a core part of my week for the past two years. It is also unusual because due to its Saturday morning time slot, it has been the only thing that has managed to get me to wake up at a decent hour on a Saturday.

Adam and Joe have an excellent knack of doing a type of humour which is silly but not stupid — a balance that very few manage to strike. This made it ideal listening for the start of the weekend. It was perhaps something to gently lift you out of a mild hangover. The accompanying podcast was also excellent for lifting spirits during your journey into work.

Their gentle humour was mixed with sharp observations on popular culture. Increasingly, towards the end of the programme’s run, listener contributions were a larger part of the programme. Combined with the programme’s elite listening force Black Squadron and the STEPHEN! phenomenon, there was quite a tight-knit community feel to the show.

This was no doubt helped by the fact that it was on BBC 6 Music, jokingly referred to by Adam Buxton as “the secret station”. Even though it was the most popular programme on the station by quite a long way, due to its location in the outer reaches of select DAB sets, Adam and Joe’s was a cosy and understated programme. It is difficult to imagine Adam and Joe’s programme working so well on another, larger radio station.

Adam and Joe’s replacement will be Danny Wallace, who is not quite in the same league. It will leave a huge gap in my Saturday mornings. What else can I listen to? Saturday Live on Radio 4? Sorry, not for me. Jonathan Ross on Radio 2? Possibly. Or will I return to my old ‘default’ radio station, Radio 5 Live, for Danny Baker and Fighting Talk?

Changes at Radio 5 Live

Speaking of Radio 5 Live, that is the source of the other big change to my radio routine. Richard Bacon has vacated the late-night slot to take over from Simon Mayo, who is moving to replace Chris Evans on Drivetime at Radio 2.

I was a fan of Richard Bacon during his first stint on 5 Live in the weekend late-night slot, and he continued to delight when he returned to the station to do weeknights. Given his background, he is surprisingly good at dealing with big issues as well as light-hearted stuff.

He is also unafraid to use humour. It could be so embarrassing (and some would probably say it is), but I think it works well. The interesting bit after 12:30am was entertaining and brave. I can’t think of many other presenters who would get away with completely doing away with news for half an hour every day on Radio 5 Live.

I am greatly regretful that I never managed to get my hands on one of those badges. It was nevertheless an honour and a privilege to listen.

Richard Bacon’s irreverence is what makes him good as a broadcaster, but it’s difficult to see how he can leverage this in his new mid-afternoon slot, one of the most important in 5 Live’s schedule. Most disappointingly, it will be on during the daytime, meaning that I won’t be able to listen to it.

The replacement in the late night slot will be former Daily Sport editor Tony Livesey. I will reserve judgement until I hear the programme. I gather he is actually quite good. But if I don’t take to it, I might take the unusual step of switching to a commercial radio station during weeknights to listen to Iain Lee on Absolute Radio.

Richard Bacon’s move is part of a wider shake-up at Radio 5 Live, which also sees Gabby Logan getting a daily slot. With the day going from the Nicky Campbell Speak You’re Branes hour to Victoria Derbyshire to Gabby Logan, it’s not difficult to see why some people have started to nickname the station Radio 5 Lite.

It’s not quite the quality station I loved just a few years ago. Just now Radio 5 Live seems utterly bereft of ideas, aside from attempting to stealthily change it into a 24/7 Mark Kermode station. At least Up All Night is still good.

If I was being uncharitable, I might suggest that the presenters that remain at the station are the ones who are prepared to make the move to Salford when the station relocates there next year. The logic behind moving a radio station that covers news (most of which happens in London) to Manchester is still beyond me, I have to admit.

On the bright side…

It’s not all bad news on the radio front. In addition to his new daytime Radio 5 Live slot, Richard Bacon has a Saturday afternoon programme on 6 Music. He promises to take some of the jollity of his late night 5 Live show to 6 Music. But who listens to radio at that time? Not me.

I might make space in my Sunday afternoons for 6 Music though. Jarvis Cocker will have a new programme alongside the already-excellent Freak Zone.

But weekend mornings will still be a problem. And I’ll need a new comedy podcast to replace Adam and Joe. Does anyone have any suggestions? (Not Collings and Herrin — I tried it, and it was crap.)

10. The Fiery Furnaces — I’m Going Away

It wouldn’t be an end-of-year music roundup from me without something related to The Fiery Furnaces appearing on the list. And here it is: I’m Going Away. This is probably the lowest they have appeared in my end-of-year list since I discovered them. Not that I’m Going Away is a poor album (otherwise it wouldn’t be in my top ten). But as The Fiery Furnaces have produced more conventional music, I have found them less interesting. Nevertheless, this album has some great tracks, not least ‘Charmaine Champagne’.

9. Bibio — Ambivalence Avenue

I had not taken much notice of Bibio in the past, but after hearing some clips from Ambivalence Avenue I decided to give it a shot. I was not disappointed. The influence of Boards of Canada is at times painfully obvious. But into the childlike nostalgic sepia-toned mix is thrown more folk-based influences, IDM, hip-hop and funk. And it all feels like it fits well. My favourite track is ‘Haikuesque (When She Laughs)’, even though it clearly owes so much to Boards of Canada.

8. Tortoise — Beacons of Ancestorship

I could not wait for this to come out, yet at the same time I was apprehensive about the results. Beacons of Ancestorship is Tortoise’s first proper album since 2003’s It’s All Around You. Even that was a bit of a let-down, and the bits of material they have released in the intervening period (*cough* not looking at any particular collaborations with Bonnie ‘Prince’ Billy, you understand) have been poor.

But Beacons of Ancestorship, if not exactly up to the, ahem, Standards of their classic albums, is by no means a let-down. It’s just that you get the sense that nowadays Tortoise operate comfortably within their boundaries, rather than challenging them as they did in the past. What can’t be taken away, however, is the fact that this video for ‘Prepare Your Coffin’ is awesome.

7. Doves — Kingdom of Rust

You might rightly think, “Blimey, Doves. That’s that band that gets worse after every album.” Maybe so, but the fact that they do this and yet their latest album, Kingdom of Rust, is still brilliant demonstrates just how good a band Doves are. The first single worried me somewhat as it seemed like Doves by numbers. But it has grown on me, and the reset of the album shows a good development in the band’s sound, with a harder edge in some parts and a krautrocky and electronic vibe in others. The highlight is ‘10:03′.

6. Dirty Projectors — Bitte Orca

Dirty Projectors is an odd band, because they are one of the very few acts that I have ever managed to see live (when they supported Battles a couple of years ago). As a live act they were pretty impressive — the singing was incredible. When you hear Bitte Orca, it might sound suspiciously like the vocals are not real. But they definitely are.

Dirty Projectors are clearly going places. The band has doubled in size since I saw them, and Bitte Orca has been critically acclaimed. And for good reason. The band has a very distinctive sound and almost every song is good. This is ‘Useful Chamber’.

5. Animal Collective — Merriweather Post Pavilion

Animal Collective have been the darlings of the music press this year. While they don’t quite justify all of the hype, their album Merriweather Post Pavilion certainly deserves to be recognised as one of the best of the year. They have done a good job of crafting a poppier and more accessible sound while maintaining their experimental roots. This is ‘Summertime Clothes’.

4. Graham Coxon — The Spinning Top

After spending his past few albums apparently trying to make more mainstream albums, Graham Coxon went back to basics with The Spinning Top. It reminds me of his earliest albums, which is no bad thing. There is a wonderfully natural and gentle sound to this album and right from the first listen I knew I was going to love it. Here is the marvellous ‘Brave the Storm’.

3. Tyondai Braxton — Central Market

Tyondai Braxton is a pivotal member of the experimental electronic / rock band Battles. I think Battles is just about the best band going right now, and I was hugely looking forward to Tyondai Braxton’s solo effort, Central Market. It was not quite what I was expecting, but I was not disappointed. This is the sound of an artist truly pushing himself and exploring musical areas in a way that musicians should do more often.

Orchestral arrangements, crunching guitar loops, sweeping electronic effects and kazoos are fearlessly mixed together. As with his work with Battles, there are sometimes childish melodies — the sort of thing kids might hum in the playground. It would annoy you if it didn’t work so well. Despite the amazing scope of this album, I have chosen to feature one of the more conventional songs, ‘J. City’, because it is so irresistibly awesome.

2. Grizzly Bear — Veckatimest

Grizzly Bear is one of those bands that just gets better and better. Each album is an improvement on the last, and I can’t wait to hear what they can create in the future. They have a wonderful natural sound to them, which means that even though they are often described as an experimental rock band, they are nevertheless accessible. They just write great songs. ‘Two Weeks’ is an instant chamber pop classic.

1. Broadcast and The Focus Group — Investigate Witch Cults of the Radio Age

This is a true meeting of minds. Broadcast are already well established as a great band with an interesting take on bringing the past to the present in weird and wonderful ways. The Focus Group is Julian House, who has designed artwork for Broadcast for several years and is now one of the chief figureheads of the ‘hauntology’ genre, as co-founder of the incredible Ghost Box record label.

It has to be said that this album sounds like ten parts The Focus Group to one part Broadcast. (Who knows what Broadcast’s new material will be like? A new album is due in 2010, and perhaps it is heavily influenced by the happening hauntology sound.)

Broadcast and The Focus Group Investigate Witch Cults of the Radio Age presents a wonderful dreamworld collage of sound. Influenced by creepy 1970s B-movies and low-budget science fiction, psychedelia and folk music. Equally childlike and scary, this is the most different-sounding, yet oddly familiar-sounding, release of the year. I am sure that in years to come it will be viewed as the crowning glory of this strange and intriguing new genre. This is ‘I See, So I See So’.

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‘.

This is the final selection of my overview of twenty interesting Warp albums from the record label’s twenty years. To read the other parts of this series, please check the table of contents on the right.

Jamie Lidell — Multiply

Jamie Lidell is clearly a very talented person. His voice is incredible, but perhaps more incredible is the fact that in his earlier career he contrived to hide it. His work as part of Super_Collider (along with Cristian Vogel) and his début album Muddlin Gear were dark, murky, electronic affairs. Although Jamie Lidell sang from time to time, he didn’t show it off.

With Multiply his sunnier persona was unleashed. Instead of the dark and glitchy music of his earlier material, Multiply is very clearly influenced by soul and funk.

But this album is anything but conventional and boring. Jamie Lidell’s considerable skills as an experimental and electronic musician are fully utilised too. This gives Multiply a great crossover appeal. This is on the brighter side of the border that separates pop from experimental music. But clearly there was no way to stop him from pushing the boat out a little bit. This makes Multiply equally enjoyable for those who like to tap their feed and those who like to stroke their chin.

Here is the odd video for the song that effectively introduced me to Jamie Lidell, ‘The City’:

Boards of Canada — Geogaddi

While most favour Boards of Canada’s earlier album Music Has the Right to Children, for me it’s all about Geogaddi. To me, this album is endlessly fascinating, and always an intense listen.

Geogaddi is the darkest of Boards of Canada’s albums. Their other material is known most for its innocent, childlike and nostalgic qualities. Geogaddi retains an element of that, but with a dark undercurrent running throughout.

The music is more complex and multi-layered. Hidden messages are peppered throughout, and some tracks reveal more about themselves when played in reverse. There are hidden references to religion, the occult, mathematics and numerology. Some even say it is a satanic album. (As a joke, the album lasts 66 minutes and 6 seconds — a silent track, ‘Magic Window’, was inserted at the end.)

Whether Boards of Canada were trying to send some sort of message by planting these references is doubtful. Such references are few and far between on Music Has the Right to Children, and absolutely non-existent on the follow-up album The Campfire Headphase. I think the references were planted in Geogaddi to create a talking point and nothing more.

It certainly got fans talking. This webpage lists a full selection of mysterious messages and trivia about the album, even with a track-by-track breakdown.

Needless to say, leaving aside the hidden messages, the music itself is fantastic. Geogaddi is an unsettling album to listen to, but nonetheless hugely enjoyable and an intense experience.

One of my highlights is ‘Gyroscope’, which manages to fuse great music with one of my other interests as it incorporates samples of a numbers station. This is a fan-made video for the track.

Prefuse 73 — One Word Extinguisher

With One Word Extinguisher, Prefuse 73 effortlessly fused experimental electronic music with energetic hip-hop to create a unique-sounding album. The album is jam-packed with ideas — perhaps too many of them. An idea is allowed to develop just as far as it will go and no more, making this an album of many, mainly short tracks.

The music is also quite diverse, fusing many of Prefuse 73’s musical interests, spanning hip-hop, IDM / glitch, rock music and perhaps even a little bit of jazz. As such, the album is a fantastically colourful and diverse journey. There is not much chance to catch your breath.

There are also plenty of collaborations on this album. While he went a bit overboard with the concept in the following album, Surrounded by Silence, on this album the right balance is struck. I particularly like ‘Dave’s Bonus Beats’, containing drumming by David Lebleu from post-rock group The Mercury Program. The track comes complete with the answerphone message sent to Scott Herren to confirm that the drum track had been sent, adding a personal layer to the music.

During this period, Scott Herren was clearly at his creative peak. Very soon after the release of One Word Extinguisher came the accompanying Extinguished, a distinct album made of the “out-takes” from One Word Extinguisher! For a collection of out-takes, Extinguished is surprisingly good — indeed, almost as good as the original album.

At the same time as the material released as Prefuse 73, Scott Herren was also churning out quality albums as Savath & Savalas, a project more focussed on folk and Spanish-influenced music. Sadly, his subsequent material has not been nearly as good. In contrast to the exciting explorations of his earlier music, Scott Herren began to use the same recognisable formulas over and over. I have since lost interest in Prefuse 73.

Nonetheless, One Word Extinguisher remains an excellent album. Here is a track towards the end of the album, ‘Styles That Fade Away With a Collonade Reprise’.

Grizzly Bear — Veckatimest

Warp played a blinder by signing Grizzly Bear. Their pre-Warp album, Horn of Plenty, was charming but not particularly special. After signing to Warp, they came up with the wonderful Yellow House which was full of hidden beauty.

This year, with Veckatimest, Grizzly Bear have released an indie-rock / chamber-pop masterpiece which has propelled them onto the cusp of stardom. Every track is a winner. Gently enticing and maturely constructed, I can’t get enough of this album. This album ought to become a rock classic.

Grizzly Bear is easily the greatest triumph of Warp’s recent policy to diversify further from electronic music. I look forward to hearing what they come up with in the future.

Here is the lead single, ‘Two Weeks’:

My name is Duncan, and I am a motorsport fan. Is it a bad thing? Am I evil? Do I need to join Petrolheads Anonymous?

This year’s Formula 1 World Championship is coming to an end. The Drivers’ and Constructors’ Championships have been wrapped up by Jenson Button and Brawn-Mercedes respectively, and now we have one last race to enjoy before the sport takes a break for the winter.

This has not been an easy year to be an F1 fan. In terms of newsworthy stories, it’s the sport that keeps on giving. But even by F1’s standards, it has been an extraordinary year for scandals.

Bear in mind that in previous years Formula 1 has brought extraordinary enough stories. There was, for instance, the so-called “spying” scandal which led to the sport’s governing body, the FIA, handing the McLaren team a fine of ONE HUNDRED MEELION DOLLARS. Then there was the “German prisoner” sex scandal involving the FIA’s President Max Mosley.

This year cranked up the scandal ever-further. Even in the first race, a major scandal blew up when Lewis Hamilton and his McLaren team were caught lying to the race stewards.

It also emerged this year that the Renault team had colluded with its driver Nelsinho Piquet to deliberately crash his car to hand an advantage to his team mate Fernando Alonso in last year’s Singapore Grand Prix. This endangered the life of Piquet and of other drivers and spectators.

In the past year, two major manufacturers — Honda and BMW — have pulled out of the sport, with persistent rumours surrounding the commitment of the other manufacturers. Moreover, almost all of the teams threatened to break away from F1 to set up a rival championship, in protest at the way the sport is governed by Max Mosley and the FIA.

The governance of the sport may change this week, as Max Mosley is stepping down as FIA President. The election to replace him is taking place today, on Friday. This actually may have more widespread implications than many realise.

Even though during last year’s sex scandal Max Mosley was persistently described by the media as “F1 boss”, the job of FIA President goes much further than that. The FIA has significant sway over road safety issues and effectively represents car users on the world stage. If you are a member of the AA, the RAC or even the Camping and Caravanning Club, you are represented by the FIA.

Clearly, this year there has been a lot going on in the world of motorsport. While cynics point out that, for the sport’s commercial boss Bernie Ecclestone, any publicity is good publicity, this all served to further discredit a sport which isn’t exactly the most popular among some. Formula 1 is seen by many as a sport which is dangerous, environmentally unfriendly, the personification of greed — and perhaps even sexist.

No doubt there is an element of truth to some of these accusations. So, how does this sit with me? I am a massive fan of motorsport, but I have liberal political views and a concern for the environment. Do I lack principles? Is F1 a guilty pleasure for me?

I actually see no reason why it should be. Some motorsport fans are unapologetic about their passion, and they see no reason to dress it up as anything but an extravagant bit of fun. But I see motorsport as a positive force that has a lot to contribute to the world.

Yes, Formula 1 is dangerous. This year, one driver, Felipe Massa, had an horrific accident when he was struck on the head while travelling at 170mph by a spring as heavy as a bag of sugar which had fallen off another car and was bouncing around on the circuit. He was lucky to have suffered no long term damage. The spring destroyed his helmet, but if it had hit him at another point he could have lost his sight or even died.

Sadly, one Formula Two driver was not so lucky. Henry Surtees was killed when he was struck on the head by a tyre which was bouncing around on the circuit after it had detached from another car in another accident.

While a ticket to a grand prix states in large letters, “motor sport is dangerous”, such accidents are mercifully rare in top-line motorsport these days. Major injuries are rare, and the last fatality in Formula 1 was in 1994. Believe it or not, more than 2½ times as many people have died while competing in the Great North Run than have died in F1 since 1981, when the Great North Run began.

But this year’s events in motorsport show that complacency should never set in, which is why improvements in safety are always being pushed forward. Perhaps the real scandal though is that, despite the increasingly safe environment that professional racing drivers face, 1.3 million people still die on the world’s roads every year.

F1 technology can play a major role in reducing the number of accidents on public roads, and already has done. In 2007, one F1 driver, Robert Kubica, survived a 75g impact with nothing more than light concussion. The materials that make an F1 car so safe are exotic and expensive, meaning that the opportunities to help make road cars safer using F1 research are a bit limited.

But electronics such as ABS and traction control are commonplace on today’s road cars. Such technologies unquestionably save lives all the time, and their development was helped by early applications in racing cars.

The money that flows through F1, and the high-stakes nature of the competition, make it a great test bed for important technologies that improve our daily lives. F1 is an R&D powerhouse.

There is currently an exhibition in the Science Museum in London called Fast Forward, which showcases twenty instances of F1 technology improving the lives of others.

Included on display are high-tech tyre pressure indicators which alert drivers to a developing puncture before it becomes dangerous. Then there are F1 materials being used to help protect troops in Afghanistan from bullets and explosions. Slip-resistant boots based on F1 tyre technology for people who work in slippery environments, thereby reducing injuries in the workplace, are also on display.

A bit more down to earth is the gadget that can stop your central heating system from becoming clogged up with rust and sludge, thereby reducing energy consumption in the home. Hospitals have even analysed mechanics’ behaviour and procedures during pitstops in order to improve the speed and accuracy of medical teams.

But how about the environmental impact of this gas-guzzling sport? I must say that my view is that rather too much is made of this. That is not to say that Formula 1 does not a significant environmental impact — it does. But emissions from the F1 cars themselves are actually a drop in the ocean. The racing itself does little environmental damage.

What is really damaging is all the travelling that teams, the media and fans must do in order to attend the races. The good news on this front is that F1 is carbon neutral, and has been since 1997. The FIA Foundation, the charity arm of the FIA, has taken into account not only emissions from the F1 cars and the travel of the teams, but also the transport of the fans that attend the races.

But any activity that involves being somewhere requires travel. F1 is a global sport, so there is a lot of global travel involved. But otherwise the sport actually seems rather restrained. In just 17-or-so races, a World Champion driver emerges.

Compare this to another competition, say the English Premier League in football. To come up with a mere national league-winning club, 380 football matches must be played, with all the travel this entails too. In comparison, F1 looks positively restrained.

Maybe that is an apples-and-oranges comparsion. It is just as well, then, that F1 technology also looks set to pave the way towards a green future. Formula 1 has the potential to help greatly reduce energy consumption. Refuelling during races will be banned from next year, shifting the balance more towards fuel consumption rather than raw power.

Another major initiative is the Kinetic Energy Recovery System, or kers, which the FIA finally legalised for this season. Kers is a system which harvests the kinetic energy that is dissipated under braking and would otherwise be wasted, and re-deploys that energy into the powertrain.

This technology has had a rather troubled birth in F1. The systems have been too expensive for teams to develop in the current economic climate, and it looks as though kers may take a back seat for a few years. There is also scepticism over whether kers as it is applied in F1 is actually relevant to road cars.

But one team, Williams, is adamant that its flywheel system will find a large variety of applications in the real world. The team says that its energy recovery system could improve road cars, vehicles used in mining, rail systems and “anything that moves”.

(For more on this, I highly recommend the recording of a Q&A with the Technical Director of Williams, Sam Michael. I was lucky enough to be invited along to the Williams F1 factory earlier this year along with a number of other web journalists and bloggers. The excellent Brits on Pole website has fantastic coverage of the visit.)

Plans continue to gather pace on this front. On Wednesday, the FIA outlined its plans for a green future of F1 (PDF). This includes a plan to make motorsport a competition based more on efficiency than raw power, and a stronger focus on energy recovery technologies.

The FIA also plans to introduce its own carbon neutral scheme, including offsetting its regulatory presence. It may also make carbon offsetting a condition of involvement in a championship.

So there you have it. Motorsport is a force for good in the world. Not bad for something that is hugely enjoyable. My halo is in tact.