Kensington Blues

I haven’t even finished listening to the first song on the New Pornographers’ latest album, Together, and I’m bored. This is a band that once inspired me to do that least cool of things — join the band onstage to dance — way back in 2001 at the Music Hall of Williamsburg. Man, that was fun. Has it already been five years since they played a preview of Twin Cinema at the Chameleon Club in Lancaster, PA? It has, hasn’t it?

It sounds like a snide, elitist thing to say, but the New Pornographers weren’t built to last. They were that rarest of animals: a supergroup not only didn’t suck, but actually produced two classic albums and a passable third before becoming adult contemporary claptrap.

You see, it would’ve been wonderful if they never really formed a band as such, just produced Mass Romantic, toured, and then went their separate ways. Sure, Electric Version is a spectacular album and I wouldn’t want to forget how fantastic it was to see them play those songs, too, but it’s just that it’s hard to look back on those albums and see them in the same light as they were made. Together, and it’s predecessor, Challengers, are shockingly boring mid-tempo affairs that make you wonder how the New Pornographers ever packed so many hooks into “To Wild Homes.”

The pace of their career makes me think they released those great albums, split briefly, and then reunited to produce two more lackluster albums, only to disappear into obscurity. Maybe it’s for the best. That way future generations might discover the unbridled joy when they first hear Neko Case wail on “Letter From an Occupant.”

Great little post over at Pullquote about how to rationalize adding even more Criterion Collection titles to your personal DVD library. Trust me, I feel this guy’s pain. When I was really a movie hound, especially when I started taking advantage of Deep Discount’s massive biannual sales, I would agonize over which titles to buy. To wit, I still haven’t purchased a copy of Resnais’ Hiroshima Mon Amour because I felt it was too expensive for one disc AND that it would surely go out of print when a new print was invariably discovered. This is the exquisite pain that only truly insane observers of the DVD remaster market can feel.

Conversely, how stupid do I feel for having ever bought Equinox, which I watched exactly one time? I think I’d hasten to add a follow-up to Pullquote’s post: how many DVDs do you own that sit on a shelf or in a drawer that are untouched? I confess to more than my fair share of these.

I feel sheepish even taking part in conversations like this now. I used to eagerly await regular emails from Criterion about their latest titles and then make notes in priority order about which I’d buy when they went on sale. Now that I’m less bullish on buying any sort of physical media, they’re hardly a blip on my radar. I will admit that I nearly jumped for joy when I read that they were releasing Red Desert, which is possibly my favorite Antonioni movie, even though I always say it’s L’Avventura.

I’ve been to Kraftwork a number of times now and I think I like it. I mean, it’s okay. There’s that one sandwich that’s really delicious, but not much else that really stands out on the (recently reconsidered) menu. The draught list is amazing, although it’s like doing surgery with a shotgun; put enough beers on tap and you’re sure to get something right, no?

But you can fix menus and curate beer lists to make it seem like you know what you’re doing, rather than not wanting to get it wrong. What you can’t really change is physical plant. If you want to be clubbed over the head with concept, Kraftwork is the place. Without even mentioning the clunker of a name, you know it’s stylized to a fault, which really distracts from the things that probably brought you there in the first place. Did I mention how NOISY it is? Now, I know I’m getting older, but when you have a DJ spinning dance music during dinner, at a place that doesn’t have a dance floor, you’re going out of your way to seem silly. I mean, at least the Abbaye had sensible brunch DJs.

Thing I hear from fans of craft beer and gastropubs in general though is that the prices are simply too high. I can get a pint of Russian River Blind Pig for less than I can a tulip of the same at Kraftwork. And while the taps are more plentiful than other neighborhood bars, I don’t get the sense that more thought went into selecting what’s on them. Instead of feeling like you’re getting a deal on something that’s been carefully considered, you know you’re overpaying for something you can probably get somewhere else in town.

Will I keep going back? Absolutely. I have faith that Adam Ritter will get it right and, hell, who I am to say anything: the place is usually full to overflowing, which is a good problem to have in this economy. If they can build a tasty, inexpensive menu around their beer can chicken sandwich, then they’re already on the right track. Where else can you get a Mikkeller Breakfast Beer Geek Imperial Stout at 10:30 on a Sunday morning?

Tell me who you follow! I feel pretty comfortable with Google Reader and Twitter; I’ve amassed quite a collection of personalities there and enjoy them immensely. But I find myself awash in endless reblogs on Tumblr and I wouldn’t know the first thing about who’s worth watching on YouTube.

Do people still get into podcasts? I’ve downloaded DJ Rupture’s Mudd Up, Doug Henwood’s Behind the News, and Two Guys on Beer, but I have to admit that I’m not a regular consumer of podcasts. Are there any you check out? Do you think video podcasting may finally break through now that we have the devices that not only support it, but make it sexy?

Lastly, what are your favorite blogs? In this age of microblogging in all forms, is there anyone else out there who still likes to read thoughtful pieces? My Google Reader is stuffed, but I’m always looking for new sources to check out. I’m always looking for local folks, as well as great people covering music, tech, Phillies, food, and media. Share your favorites!

So, who do you follow and where do you follow them?

I’ve been reading about this set all over the web, most recently at An Aquarium Drunkard. Unsurprisingly, understandably, everyone’s fallen in love with one of the greatest albums ever all over again.

I got the deluxe remastered edition for Father’s Day and I’m still working my way through it, but something really struck me as I listened: do we have the Stones to blame for Blueshammer and their ilk? I mean, would Kenny Wayne Shepherd and Jonny Lang have been possible without the Stones paving the way for guys like Stevie Ray Vaughan?