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.)

The third part of my five-part series looking at 20 interesting albums from the 20 year history of Warp Records. To read other parts of the series, please check the table of contents to the right.

Battles — Mirrored

Battles are redefining what rock music is. They are pushing the envelope in the same way bands like Tortoise were doing ten or twenty years ago. In fact, I see Battles as the successors to Tortoise at the forefront of mind-bending rock music, filling a gap which was left after Tortoise settled down.

The music on Mirrored is unlike almost anything you’ll hear anywhere else. But the studio output is not even the most impressive thing about Battles. By now all listeners to contemporary music are well used to the technical wizardry that can be found in almost any song.

The amazing thing about Battles, though, is the way they use technology to manipulate their performing in real time when they’re playing live (see, for instance, their performance of ‘Atlas’ on Later with Jools Holland). Their performances are the greatest partnership of man and machine, with a dazzling array of black boxes and gizmos festooned with an army of cables. They have plenty of interesting and unique ways of making sounds.

It is as though they decided to make it all as difficult as possible. But the band is well capable. They are clearly performing on the edge — a small amount away from being a total disaster. But the talent — most notably the experimental maverick Tyondai Braxton, and the intricate and precise drummer John Stainer — is there to keep everything under control.

Strangely, the highlight of Mirrored is the one song they don’t seem to play live, ‘Rainbow’:

Aphex Twin — Selected Ambient Works Volume II

Aphex Twin is probably the Warp artist who needs an introduction the least. Indeed, to an extent, he has defined the label. His first Warp album as Aphex Twin, Selected Ambient Works II, is probably his best.

It certainly stands out from the others in terms of style, with little emphasis on beats and little evidence of the humour that would be present in his later material. Mind you, some people may think he is pulling the listener’s leg with these long-winded and repetitive tracks. I have to confess that I found it a challenging listen at first.

But the fact is that these are beautiful pieces of music, both light and dark. The album is so strong that it probably defines the idea of what ambient music is as much as any Brian Eno album does. It certainly is not mere background music. The emotional intensity ensures that the music is engaging and stands the test of time.

The album is so long that not all of it fits on two CDs, meaning that only those who purchased the vinyl edition have the full version. The US version of the CD also lacks a further track, ‘Hankie’. Whoever owns the rights in the USA seemingly has YouTube under the thumb, so this is the one track that I can actually embed here.

Plone — For Beginner Piano

This is a strange one. At first I didn’t like it much, but after a while I began to appreciate its charm. There is a similarity with fellow Birmingham bands Pram and Broadcast, with its fixation on quaint and old-sounding synths and retro electronic music.

For Beginner Piano has a bit of a Jekyll and Hyde thing about it. In parts, it has a particularly childlike vibe to it. But it is also quite a dark album, aided by the use of slightly creepy-sounding electronic effects. The mixture of childlike and dark is quite a disturbing juxtaposition which is probably what prevented me from taking it too seriously when I first heard it.

However, as time has gone on I have come to really appreciate it as a charming piece of electronic music. It is easy to see why it has become a cult favourite over the years, even providing the inspiration for the open-source Content Management System Plone.

But while For Beginner Piano has become a fan favourite, Plone has also been at the centre of one of the most controversial points of Warp’s history. It is said that Warp refused to release Plone’s second album, with little in the way of explanation. Something purporting to be the lost Plone album has since been leaked. But Plone is no longer a going concern.

Here is one of the more childlike tracks, ‘Plock’:

!!! — Louden Up Now

Never let it be said that Warp is not a label that likes making things difficult. Here is a band with a name that is difficult to pronounce (though ‘chk chk chk’ has become popular) and impossible to find in a record shop (in the A-Z, where does ‘!’ go?). Yet despite this clear act of obfuscation, !!! are in fact one of the most musically accessible bands on the label.

The music is an infectious form of electronic funky rock, forging the sensibilities of punk and dance music. As an eight-piece band, !!! produce a very dense sound which fascinates.

Truth be told, I find much of !!!’s output only a little above average. But I have fallen in love with certain songs of theirs, most notably ‘Me and Giuliani Down by the School Yard (A True Story)’, a high-velocity, varied and downright fun piece of music:

Wow, a day certainly is a long time in F1. I am not sure when I will get round to actually writing about the Hungarian GP, though at least there is a long break until the next race.

But the big news this evening is that the next race will feature Michael Schumacher on the grid. He has been announced as the replacement for Felipe Massa while the Brazilian makes his recovery.

A lot of names have been bandied around over the past few days, and none of them seemed terribly lucky. Optimists suggested that Fernando Alonso or Robert Kubica might be able to get out of their current contracts to move to Ferrari mid-season.

Mirko Bortolotti was another driver on the radar. Last year’s Italian F3 champion has impressed in previous tests with Ferrari. He is currently building up his skills in Formula Two is widely tipped to have a bright future. But it is near enough unheard-of for Ferrari to hire a young rookie.

Some talked up the chances of David Coulthard or Anthony Davidson getting the role. That seemed a bit like pie in the sky thinking though.

The other drivers who currently have relationships with Ferrari are the team’s official test and reserve drivers, Marc Gené and Luca Badoer. But they were unlikely to step in for a whole host of reasons. Neither has a particularly strong track record as a race driver, although you can argue that neither ever had a decent opportunity to show their skills.

But their lack of fresh experience will have seriously counted against them. Gené last raced five years ago for Williams, and faced the ignominy of being replaced by Antônio Pizzonia for being too slow! Meanwhile, Luca Badoer hasn’t raced in F1 for ten years.

The last time Ferrari had to replace a driver midway through a season was when Michael Schumacher broke his legs at the 1999 British Grand Prix. Then, it was widely expected that Luca Badoer, as Ferrari’s test driver, would take his place. Instead, the Scuderia controversially overlooked him and hired Mika Salo.

It was a bad year for Badoer, who came close to finishing 4th for Minardi in that season’s European Grand Prix before his car broke down. He has never had an opportunity to score a World Championship point since.

Luca Badoer has held the test role at Ferrari for a staggering thirteen years without there ever being a sniff of a race drive. If he was overlooked in 1999, he was going to be overlooked today.

Now that testing is banned, it makes you wonder just what the point of a test driver is any more. I recently read that neither Marc Gené nor Luca Badoer have had any mileage whatsoever in this season’s Ferrari F60, in which case the advantage of selecting them over Michael Schumacher — who has loads more talent and, perhaps even more importantly, ocean loads of PR value — is non-existent.

This comes mere weeks after an elaborate re-arranging of deckchairs at Red Bull, as they apparently sought ways to replace Sébastien Bourdais at Toro Rosso without putting Brendon Hartley in the car. Up until the mid-season point, Hartley had been the official Red Bull reserve driver. But mere days before the reserve driver would actually be needed, he was replaced by Jaime Alguersuari.

Other drivers left twiddling their thumbs this year include: Pedro de la Rosa, Gary Paffett, Christian Klien, Romain Grosjean (though perhaps not for long), Adam Khan, Kamui Kobayashi, Nicolas Hülkenberg, Vitantonio Liuzzi, Anthony Davidson and Alexander Wurz.

If a team had to bring in a replacement driver, how many of these would be considered ready and able to race? Not many of them have much in the way of decent mileage of 2009’s cars. Who is to say, for instance, that McLaren would not rather stick Paul di Resta in their car over Pedro de la Rosa? Would Toyota happily give Kobayashi a seat, or would they prefer to take Nakajima?

Just a few years ago it looked like drivers could make a decent living out of being a test driver. Now they never get to test, and they’ll be lucky to get to race.

This is a purchase that I made experimentally. A few months ago I was accumulating a hefty order on Boomkat, and I was within touching distance of getting the free postage for spending £50 or more. But I couldn’t work out what to buy.

So I put it to Twitter, and Twitter made the decision for me. Why not, I thought? This way I would probably end up getting something that I wouldn’t normally consider. It’s good to broaden those horizons. Malc was pretty sceptical about it to me. He pointed out that it would have been cheaper for me to forego the free postage and not buy the extra CD.

But that wasn’t the point. Well, it sort of was. I can’t resist that free postage option. But anyway. What if the extra CD I bought actually ended up being good?

David Heggie was the first person on Twitter to respond with something that Boomkat sold. He suggested I should buy Noble Beast by Andrew Bird. I had heard of Andrew Bird, but I had no idea what sort of music he made, so this really was a leap into the dark for me.

It turns out to be a pretty good fit. I have tended to favour experimental and esoteric electronic music for the majority of my adult life. But in the absense of anything fresh or innovative-sounding in that arena, over the past couple of years I have found myself drifting towards more conventional acoustic, guitar-driven music. Pseudo-folksy stuff like Grizzly Bear and Fleet Foxes; bands I may well have shunned five years ago.

Andrew Bird fits this template pretty well. Before I probably wouldn’t have paid any attention to him. Indeed, I wouldn’t have paid any attention to him anyway if it wasn’t for this Twitter experiment.

But it turns out to be not half bad. This style of music can easily fall into a steady template of blandness. Well, blandness to my ears at least, which usually need some kind of musical gimmickry to be satisfied. But Andrew Bird has enough idiosyncrasies to prevent it from being a problem in Noble Beast. For instance, his USP appears to be the fact that he is a virtuoso whistler.

My favourite track on the album is ‘Not a Robot, But a Ghost’. This video of him and his band performing it live demonstrates that he’s quite an impressive performer — not just as a singer, but as a whistler and a violinist too. Unfortunately, the live version cuts out the best bit of the song, which you can listen to below.

So the experiment which could have gone badly wrong (well, okay, it would only have left me in the possession of a CD that I vaguely disliked) has actually gone very well, despite Malc’s pooh-poohing of the scheme. It’s funny how things work sometimes.

In this age I could turn to Last.fm for recommendations based on a huge database of my listening habits for the past ten years. Or I could have tested out music on Spotify, or browsed around YouTube. Or any number of more sophisticated options. But the best unexpected new musical find I have made came from a random message on Twitter.

At least it’s something else I can tell people the next time someone is sceptical about Twitter. Thanks, Twitter! And thanks David Heggie!

A deal has been struck between Max Mosley, Fota and Bernie Ecclestone, and the threat of a breakaway series has been averted. I think there were a lot of people out there who quite liked the idea of a breakaway series. Indeed, given the choice between Max Mosley’s rotten vision and a Fota-run series, I would have gone for the Fota series every time.

But a split would have been a calamitous situation. The new series, despite having all the big names and probably some decent circuits, would still have taken some time to find its feet. Plus, I couldn’t help but wonder if the Fota series would have got good television coverage. Don’t forget that for the vast majority of fans, television is the only way we can consume the sport that we love, so this is an essential element.

In a lot of ways, the roots of the current problem in Formula 1 lie with Bernie Ecclestone. Or, to be more precise, CVC. They are the ones who suck the money out of the sport in order to pay the interest on their debts. That is why F1 ends up visiting sterile circuits with minuscule crowds — because those governments will pay huge sums of money for the privilege of holding an F1 race. That is probably also the reason for the fervour over cost cutting. If the teams spend less, Bernie can get away with giving the teams less of the sport’s revenues, and giving CVC more of them.

But despite that problem with CVC, I can’t find it in myself to be too angry with Bernie Ecclestone. In truth, he has done a great job of promoting the sport, and F1 may never have appealed to me were it not for Bernie’s efforts. Sure, there are a lot of areas where he can improve, particularly on the dire online offering.

But under Bernie Ecclestone, the television coverage of Formula 1 has been revolutionised. He got his fingers burnt with the adventurous F1 Digital+ endeavour. But while those innovatory days may be no more (and it is notable that F1 is still not broadcast in HD), today’s FOM-produced World Feed (used for all races except Monaco and Japan) is based on many of those innovations and television coverage has improved immeasurably over the past fifteen or so years.

We seldom have to deal with relatively amateurish efforts from the host broadcasters. Just compare these two videos of the same incident as it unfolded live. One is from the FOM F1 Digital+ World Feed, and the other was from the host broadcaster. (To view them side-by-side ‘as live’, start the second video when the first video reaches 17 seconds.)

The difference in quality is massive. F1 Digital+ caught the accident live so viewers knew immediately what happened. This was no coincidence. It happened because a system of sensors around the circuit could detect when cars were running close together, and coverage automatically switched to those cars in the expectation of some kind of incident unfolding. Later, replays from multiple angles enhanced the viewer’s understanding of the incident.

Meanwhile, the host broadcaster cut to Ralf Schumacher climbing out of his car ten seconds after the incident originally started. And it was a long time until viewers found out that the accident also involved Jacques Villeneuve — and there was only one angle of the incident. Note also how Martin Brundle had to rely on the superior coverage which he could see outside his commentary box window to tell viewers that Villeneuve was unhurt.

The Australian host broadcasters were not dummies. They just did the best job they could with the resources they had at their disposal. “Bernievision” was only good because of heavy investment and years of experimentation.

Bernie’s television operation was pretty impressive even in 2001, though not all of the innovations remain in today’s coverage. But it is thanks to Bernie Ecclestone that today’s coverage is more like the first video than the second one. A Fota-run championship would not have had such a slick operation going from day one, and the fans would have been worse off for it.

(For more on the amazing “Bernievision”, check out these decade-old articles on GrandPrix.com: Inside Bakersville and Inside the F1 digital television centre.)

Then there is the question of whether it would have had any coverage at all. The BBC would have been scared off, and television executives would have been confused. They want the World Championship, whether or not an alternative series is better in the eyes of the fans. Take, for instance, the Intercontinental Rally Challenge, which I hear is better than the FIA’s World Rally Championship. Not that I’d know, because the former is ghettoised on Eurosport while the FIA’s weak WRC gets terrestrial coverage.

No matter if it has all the current teams and good circuits — signing up to show a new series is a risk which television executives wouldn’t want to take. The prospect of the best F1 series being on some pay channel and having no terrestrial coverage was a real one. That aspect of the breakaway scared me.

On the other hand, the proposed breakaway presented the opportunity to create a great new version of Formula 1, unshackled from the financial needs of CVC or the warped politics of Max Mosley. Fota had some crazy ideas, but they carried out market research and were far more receptive to the views of fans than the FIA have ever been.

I particularly liked the idea that the new series could have been particularly focussed on attracting an American audience. The FIA Formula 1 Championship has dumped on US fans time and again, and today there is no race in North America even though it is a major market for the manufacturers.

There would also have been a careful look at ticket prices and the fees circuits have to pay to hold an F1 race. No-one (apart from Bernie apparently) likes to arrive at sterile circuits with a dozen people in the grandstand. It comes across on television too, whether or not FOM’s cameramen are instructed to avoid shots of empty grandstands.

I could feel the atmosphere of the passionate British crowd on the television. The difference could hardly be more stark from the previous race at Turkey, where the crowd was around 10% of the size. And Silverstone is a circuit that Bernie wants to move away from.

Even the little things that are wrong with F1 could have had the magnifying glass applied to them. Such as, why can’t a driver keep the same number for his whole career. In other categories such as Nascar or MotoGP, a driver’s number becomes part of his legend, every bit as important as, say, his helmet design. Even in the history of Formula 1, the number 27 car is almost synonymous with Gilles Villeneuve. Imagine the marketing potential too. But in the clinical world of Formula 1, driver numbers are determined by the positions of last year’s Constructors’ Championship.

In short, the breakaway could have been a great opportunity to fix everything that is broken with F1. I doubt the breakaway would have been a true ’split’, and it probably wouldn’t have had the same consequences as the Cart / IRL split. It was pretty clear from the fact that the FIA never released a finalised 2010 entry list that the FIA didn’t have a 2010 F1 Championship to speak of, and Fota’s would have been the only show in town.

That, I think, is why the deal must be seen as a victory for Fota. It has turned out to be a powerful organisation that did after all have the ability to at last stand up to Max Mosley’s dictatorial authority.

There is a part of me that suspects that the FIA as an organisation simply isn’t fit for the purpose of overseeing motorsports. We will eventually see how things develop with Max Mosley’s successor. I think today is just the starting point though, and we will see some more loose ends being tied up in the coming months. There will be power struggles there too, I am sure.

It looks like these negotiations will in fact be handled by Michel Boeri. That in itself is interesting because he is the promoter of the Monaco Grand Prix. It was reported that he would take the Monaco GP with him to the Fota camp if the breakaway went ahead.

What we need now, most of all, is someone in charge of the FIA who is not a glorified politician, constantly interfering. I remember Maurice Hamilton making the point once that everyone knows who Max Mosley is, and many people can tell you that Jean-Marie Balestre was his predecessor. But not many can tell you who Balestre’s predecessor was (for you history buffs, on the Fisa side it was Pierre Ugeux, and in the FIA it was Paul Metternich). Yet the sport still ran.

It sounds like from now on there will be more checks and balances in place, with the F1 Commission being given more of a say from now on. No doubt Fota will continue to play its role too, and I think it would be best for everyone if Williams and Force India re-joined and USF1, Campos and Manor all joined too. That way the teams, who create the sport, can have a say in its governance too.

Speaking of the new teams, I think as we sit here today, with much of the damage repaired, the biggest shame of this episode is that two capable teams have been denied a place on the entry list as a result of Max Mosley’s petty politicking. I think many of us can’t wait to see Prodrive finally get a chance to enter F1, and Lola were a promising prospect too.

No doubt the FIA actually had a tough choice to make, as according to Joe Saward at least the Manor Grand Prix team is actually a seriously strong prospect. With costs set to be cut and a more stable future for F1 promised, and with that troublesome Max fellow out of the way, at least we know there are capable teams that are ready to fill any potential gaps that appear.