But do you know what? Art is a continuous stream of influence, with artists taking what’s previously been achieved and putting their own spin on it, changing it slightly, borrowing some of it’s elements, combining elements from different pieces of art. That the days of Post Punk, Thrash Metal and the New Wave were good days, days that laid the foundations for what was to come. Most music fans agree that without Doolittle, there would be no Nevermind. The argument goes “tHoSe bAnDs wErE tHe rEaL gEnIuSeS wHo kUrt cObAiN wAS cOpYinG, wHy dOn’T tHeY gEt aNy cReDiT”, to which my response is always “…they do”. Take Kurt Cobain for example, who was heavily influenced by the Pixies, as well as Post Punk acts such as Gang of Four, Wipers and Public image LTD, and additionally Bad Brains, Black Flag and Butthole surfers. And that criticism is how bands like Nirvana, Alice in Chains, Pearl Jam and Soundgarden borrowed from previous music acts to inform their sound, and were subsequently allegedly rewarded for the fruits of their Labour. Not for this to become a defence of “Grunge” music, but it’s important to note one of the criticisms levelled at this small pocket of music history before launching into the Dirt review. But looking at it realistically, the soundscapes for these genres were mostly exhausted, and this new sound for Rock wielded more potential for creativity and innovation. For some, this was lamentable, afterall the 80s was carried by some fantastic Rock, Post Punk and Metal. It’s vital to note that The New Wave was over, the peak of Thrash and Hair Metal had come and gone, and the best days of Post Punk were long behind us. The influence of Grunge extends beyond the so called “movement” itself, instead rippling off into various corners of music history. Indeed, after the success of Nevermind, a record that instigated a Rock/metal metamorphosis of sorts briefer guitar solos, more emotionally charged vocals, shorter songs, filthier guitar textures Rock had changed, and it wasn’t a shift limited to the confines of the Grunge movement, but merely an iterative continuation of the style the Pixies were exploring throughout the late eighties on records like Surfer Rosa and Doolittle, and the natural next step for rock music to take. Furthermore, only a few bands in Seattle made it big in the rather brief period of time the media was interested in the so called Grunge Movement. But as a side note, the Sub Pop record label, the label often referred to as the “Grunge” label, found more success after the alleged Grunge Movement, going on to publish records from acts such as Sleater-Kinney, The Postal Service, Beach House and Clipping. Acrimoniously discussed, the shift in alternative music to the overblown Seattle music scene (a scene that wasn’t as thriving as the media liked to portray) is bemoaned by many music fans. It’s no secret that the nineties are an estranging decade amongst music fans. Talent is a great responsibility and I will do everything within my power to not betray my clients’ trust.Alice in Chains? You mean an Alice in Wonderland bondage fan fic ??*ahem* anyway… I’m glad there are still artists/musicians and art lovers/listeners who refuse to comply with generally low aesthetic standards of today. "Heavy metal is a culture deeply rooted in mythology, religion and philosophy and those are the subjects I, too, choose to explore in my work. I do enjoy listening to heavy metal now and then, but I don’t think I like it enough to call myself a fan," he admitted to Heavy Music Artwork. But, he doesn't necessarily consider himself a metalhead. In addition to Behemoth, Forkas has also worked with bands including Wolves In The Throne Room, Locrian and Horseback to design their albums. See the post, which compares the two images side-by-side, below, as well as the music video for "Hurricane" underneath. "Now, I doubt it was Kanye himself who authorized the underhand nonsense but still one would expect at least some measure of ethics, quality control and respect from a popular artist of his renown." "I’ve never been contacted by any party involved in the production – it’s just been pirated from the web and re-rendered for the video. "Vigilant followers drew attention to this petty theft of my 2017 piece Hortus Aureus in the latest Kanye West video, 'Hurricane,'" Forkas wrote in the caption of the post, tagging the rapper.