Saturday, November 13, 2010
Wednesday, November 3, 2010
Glen E. Friedman (born 1962) is an American photographer and artist.
Coming to prominence in the 1980s with his photography of skateboarders and musicians, Friedman is considered one of the most important photographers of his generation.
Coming to prominence in the 1980s with his photography of skateboarders and musicians, Friedman is considered one of the most important photographers of his generation. He is perhaps best known for his work promoting rebellious artists such as Fugazi, Black Flag, Ice-T, Dead Kennedys, Minor Threat, The Misfits, Bad Brains, Beastie Boys, Ice-T, Run-D.M.C., KRS-One, and Public Enemy, as well as classic skateboarding originators such as Tony Alva, Jay Adams, Alan Gelfand,Duane Peters, and Stacy Peralta. Although this work is documentary by association, he considers the work more in the realm of fine art photography. His most recent works exhibit this leaning more obviously.
Friedman's photography has been seen in international publications for more than thirty years, on record covers for over twenty five years, and has been exhibited in art galleries and museums worldwide for over ten years. Original prints of his work are in the Photographic History Collection of the National Museum of American History at the Smithsonian Institution in Washington D.C., also in the permanent collection of the Experience Music Project Museum in Seattle, Washington, and private collections globally. Six hardcover books have been published documenting his various subjects of interest.
It's not uncommon for Scandinavian bands to fetishize the hippest sounds and aesthetics from throughout rock history. What separates Graveyard — as well as its sister act of sorts, Witchcraft — is that those fetishes are held in near-perfect balance with the group's own personality. In other words, it would be an injustice to include the quartet's dynamic take on blues-soaked '70s hard rock under tags such as "stoner rock," "doom," or anything else that aims to make Black Sabbath and Blue Cheer's sludge even more limited in range.
"Right Is Wrong," the penultimate track on Graveyard's deftly produced self-titled debut, is a proto-metal epic built to scale, a song that plays effectively to each of the band's temperaments and strengths. Singer-guitarist Joakim Nillson's stout, striking voice hits first, with a singularity that comes less from quirks and more from sheer might — the kind of commanding howl that could easily help him escape rock-geek cult status.
Where others working in the secondhand-Sabbath milieu often bludgeon through their songs' sections without distinction, or groove ad nauseam in the name of psychedelia, "Right Is Wrong" juxtaposes simmering verses and solos with explosive choruses and a big-riff breakdown, crafting real drama that emits light to go with the heat. There's Sabbath in Graveyard, sure, but also Peter Green-era Fleetwood Mac, Cream and the nimble interplay of San Francisco's Summer of Love mainstays.
In some fashion, Graveyard's macabre name, metalhead lyrics ("Satan's Finest" closes the album) and taste for fantastical cover art do it a disservice. The band's appeal travels far beyond rock nostalgia, into genuine songcraft.