Dismember are currently in the process of reissuing their merchandise and back catalog to combat rampant poor-quality bootlegs. Brett Stevens reached out to the band for an email interview and drummer Fred Estby most graciously agreed to answer our staff’s questions:
Death Metal Underground staffer Corey M reached out to the prolific French-Canadian black metal band Sorcier des Glaces for a written interview about their career. Our staff compiled a list of questions which Sébastien from Sorcier des Glaces thankfully and thoroughly answered:
A few weeks ago I conducted a short interview with Brian Tatler (center), the guitarist and primary songwriter of Diamond Head. Their new self-titled album was released on April 7th and will be reviewed on Death Metal Underground shortly. Marred by technical difficulties, here is an edited transcript:
Hi Brian, I’m Daniel from Death Metal Underground. I understand Diamond Head has a new album coming out this spring?
Yes we do. Diamond Head comes out April 7th.
Did you try to hearken back to your early work or go in a more commercial direction?
In a way. We took a look at everything we’ve done over the years. This album should sound like Diamond Head. We took a very Diamond Head approach.
Did you modernize your music? Use digital production and all that?
Well it’s still the old Diamond Head sound. I used a Diesel amp and we recorded into Pro-Tools too. We wouldn’t have been able to get that sound back in 1982. Writing is the main thing. We try to capture the magic in the rehearsal room.
Songwriting is the most important thing.
So much modern metal is just one cool guitar riff and then chugging along until the next part that has no relation to the first.
You still need to write a song.
Who are your songwriting inspirations?
Well, Led Zepplin, Black Sabbath, those sorts of bands. I don’t listen to that modern sort of stuff that much. Some say we write the same songs over and over. That’s the way that stuff is. Diamond Head sounds like Diamond Head. The most influential records were the first few Led Zeppelin, Sad Wings of Destiny, Machine Head.
How do you feel about your influence on the metal and the more extreme sub-genres? Inspiring bands like Metallica, Celtic Frost, and Darkthrone who sometimes copied directly from you?
It’s easy to get deep into the stuff from your youth. You watch these bands play, get a tape from across the ocean a thousand miles a way, and after a few months of playing and writing your own material, what do you know? You have the same riff that’s on the tape! It’s nice to be influential. It makes the band feel important; justifies what we were doing. It’s been said Diamond Head were a musicians’ band: a band that other bands liked. We never sold that many records.
Even things like “Search and Destroy” having the same riff as “Sucking My Love” in a different key?
“Dead Reckoning”. It’s not the same; it’s slightly different. It’s flattering. I’ve got my own stuff from somewhere. Bits of Black Sabbath and AC/DC. Diamond Head were a stepping stone between thrash and them.
I noticed on songs like “The Prince”, you have tempo and rhythm changes in the drums uncommon for metal of the time.
Well we moved the drums around to get more out of each section. We had to get it as good as it had to be. No nudging through
“Am I Evil?” is perfect.
“Am I Evil?” took a while. It took a while to do it. The intro, lots of verses, the last section to the ending, and then going back to the main riff, and testing it out live.
So many bands never have the opportunity to play live now. How important was that?
We tested out everything live to see what songs and verses did work. What would work up a crowd. Some songs didn’t work. This one worked.
Did you start playing live early on?
We formed in ’76 and played our first show in February of ’77.
In local venues like pubs?
Lots of venues. Some not local. One in Birmingham. We started playing in pubs. No clubs. We would put on our own gigs.
Sabbath were from Birmingham. Was that a big deal?
We felt we were following in their footsteps: Black Sabbath and Judas Priest. It’s the second biggest city in the UK. Birmingham had so many bands. Always did too…
How much pressure did Diamond Head feel to become more mainstream and commercial rock?
A bit of pressure. We signed to MCA in 1982. Iron Maiden, Motorhead, and all UK bands appeared on Top of the Pops with their singles. Our long songs prevented that: “Sucking My Love” is 9 minutes long; “Am I Evil?” is 7:40 even. Not a comfortable fit. MCA wanted us to be more like Led Zeppelin except we had no PR, no real touring support with good lineups , nor a huge studio budget. Being managed by our singer Sean Harris’s mother didn’t help. We were dropped from MCA as she wouldn’t agree to a change in management.
Was it a Manowar type situation where he lived with his parents?
He lived with her then. I believe he still lives in the same place but on his own.
The Manowar singer still lives in his parents’ basement in upstate New York.
Any upcoming touring plans?
Lots of dates across Europe. We’re playing Hard Rock Hell and some dates in Germany, the UK, and Ireland.
The folks at Loudwire recently conducted an interview with Tom Araya. In it, Araya talks about a great swathe of topics relating to his career with Slayer; what particularly stood out to me was his discussion of what went into Repentless. While we’ve probably reiterated more than enough that Repentlesswasn’t very good, it’s still interesting reading about the differences Araya perceives between it and previous albums. There’s also some bits of interesting trivia in there that I personally wasn’t aware of before; such as Araya’s affinity for ’70s rock and the Beach Boys, and the varying work ethics and styles of various bandmembers past and present.
The folks at Nihilistic Holocaustwebzine recently uploaded a rare cassette interview that an unknown fan or journalist managed to score with Quorthon of Bathory. To my understanding, while there’s a reasonable amount of historical documentation of early underground metal, a lot of it is locked away in unscanned fan magazines, unpreserved recordings, and so forth. It’s always interesting when someone unearths these documents. This specific interview showcases Quorthon documenting his experiences touring, working with Black Mark Productions, releasing various albums and so forth. Definitely worth your time if you have a spare 15 minutes.
We covered Condemner’s Omens of Perdition recently and found quite a bit to like in its death metal stylings. When the band reached out to us for an interview, staff writer Corey M rose to the occasion and spoke with the band members.
CM: First, please introduce yourselves and describe your roles in making Condemner’s music.
PB: I am PB. I play guitar and handle drum programming, song writing, and, thus far, most lyric writing. JH : I am JH and I provide all vocals and bass.
CM: Can you give us a brief history of Condemner? What inspired you to write and play metal?
PB: As an entity, Condemner was formed in October of 2015, but the seeds of it date back to Summer of 2009. At that point, I had been playing guitar for a few years, but everything I wrote was black metal in a harmony-heavy style reminiscent of French bands such as Mutiilation or Haemoth. At the time, I felt that death metal was too limited; I had, incorrectly, perceived it as a sub-genre that was almost entirely focused on immediate facts of what we see in front of us in the world, entirely sacrificing the “spiritual” in the process; focused on the phenomenon, rather than the noumenon, for those who dislike such “religious” descriptions. What changed all of this was seeing Imprecation live for the first time in Summer of 2009. That band’s performances conjure the dark aether in the way that I had only associated with black metal. This revelation, combined with the fact that I felt like my black metal songwriting was a bit overwrought and emotionally overindulgent and needed more discipline, made the path clear to me, and I started writing death metal in the style that you hear on Omens of Perdition. “Reverence Towards the Pernicious Tyrant”, in particular, dates back to these earliest days. Originally, I didn’t have any plans to turn it into an actual band, and was just writing the songs for my own pleasure, with the occasional quick-and-dirty guitar-only recording so I could easily remember my own material, but a friend and mentor in the Texas metal scene who I have the highest respect for told me to turn it into something “real”, and shot down every excuse I made for not doing so, at which point I started learning drum programming, multi-tracking, and the rest of the things that would be required to make a proper recording.
As for what inspired me to write and play metal as opposed to something else entirely — I’m was a hessian before I was a musician, so I was obviously going to write what I love.
JH: I will only speak to my own history in Condemner: I was approached to record vocals on Omens of Perdition in late winter 2015 and took over the bass duties when the individual that was originally going to record bass dropped out of the project. I learned and recorded all of the bass parts on Omens of Perdition in less than a day and completed the vocals a short while later. The demo was digitally released in December and the reception has been very positive in the underground.
The initial inspirations for myself (assuming we’re starting from the beginning) were the usual suspects of ‘80’s Metallica, Slayer, and Sepultura as a teenager which led to bands like Voor and Slaughter (Can.) which led further down the path of death metal, black metal, etc. Inspirations as far as vocal performances for Condemner are Ross Dolan of Immolation, Nick Holmes of (early) Paradise Lost and Chris Gamble of Goreaphobia for their articulation of lower growls. Craig Pillard on the first two Incantation albums was definitely an influence for the demo as well. MkM of Antaeus is always an influence — although I am using my lower range in Condemner instead of my typical higher range, MkM’s intensity is something that resonates with me regardless of which range I am using. Finally, Rok of Sadistik Exekution is an example of the complete primal fury that every metal vocalist should attempt to channel.
CM: Condemner’s lyrics read like actual worship of death as both a real eventual experience and an abstract concept personified by an evil force. Is this on purpose? And if so, how specifically do the lyrics fit with the rest of the music?
PB: This is on purpose, but it’s a means, not an end. Speaking for the three songs I wrote the lyrics to, the key concepts are strictness and severity. Often in death metal, evil and Satan are seen as stand-ins for liberation and freedom, but there’s another side to this coin — not just opposer, but accuser as well. Black Sabbath wrote “Begging mercies for their sins/Satan laughing spreads his wings”, Slayer wrote “Bastard sons begat your cunting daughters/Promiscuous mothers with your incestuous fathers/Engreat souls condemned for eternity/Sustained by immoral observance a domineering deity”, Immolation wrote “Glorious flames… Rise above/Show us pain… And cleanse our world”, and Condemner follows along the same lines, seeing death, evil, and Satan as the whip that justly lashes across the back and the flames that rightly burn the flesh of weak, failing humanity. This is the source of the band’s name, as well as the lyrics — “Condemner” is an antonym for “pardoner”. No forgiveness.
As for how the lyrics fit with the rest of the music, the music is always written first (writing lyrics-first is part of what caused my older black metal works to be overindulgent), and then words are written to match the composition — first, more generally, as a song title, and then, more specifically, as actual lyrics. Some might notice the parallel between the lyrical topics and my own intent for the music here to be more disciplined than my previous works, but this wasn’t intentional; I didn’t notice it myself until long after I had already decided on Condemner’s concept.
JH: I can’t speak so much on the writing side of things, but I would say that I see death as a force to be honored and revered for its might. I prefer to not speak too much on the matter but the lyrics I contributed for the demo’s final track “Blood On The Oak (Death’s Wisdom Great)” are about an experience I had in which I was confronted with that might. It was a triumph of death, to say the least. I relate my own experiences to PB’s lyrics as well, although again I will not speak much on the subject.
I would completely say that the lyrics fit the morbidity of the music — any other lyrical topics would be monstrously out-of-place for an atmosphere like this. Interestingly enough, the lyrics for “Blood on the Oak” were initially written in late 2014 and were used in two different bands that each split up before the song could be recorded, but I would say that it has found a perfect home in Condemner.
CM: The individual riffs on Omens of Perdition are relatively simple when compared to what a lot of contemporary so-called “technical” metal bands are doing. Was that simplistic approach something that you chose on purpose or did that style of having all your instruments playing melody in unison just come about naturally?
PB: The riffs on Omens of Perdition aren’t technical because I don’t like the music that most “technical” metal bands make. With a few exceptions (Demilich!!!), it’s all attention-grabbing pyrotechnics with little portent behind it. It wasn’t a conscious decision — there’s no way that someone who loves Profanatica and hates Necrophagist is going to make something like Necrophagist. As to the instruments playing in unison, that was simply a result of how the songs were written — as mentioned earlier, all of the music was originally written for a single guitar, so the other instruments were always destined to follow the guitar.
JH: For the bass, everything is kept simple and following the guitar parts for maximum force and impact on the listener. I see Condemner as following the Tom G. Warrior school of “less is more”, and I’d say that the end result was successful.
CM: Can you explain (in as great or little detail as you want) the process of writing a song? Does it begin by jamming until new riffs emerge or is there a more structured method?
PB: Generally, it starts with me coming up with a melody in my head, and turning it over in my head for a few days, silently humming variations of it to myself. Once I’ve done that, I can generally pick up my guitar and write riffs that complement the one that I had in my head with little trouble, and then I can work on expanding that narrative, writing contrasting riffs and looping the structure back on itself as is fit. The real meat of the process, though, is simply playing the song until there’s something about it that I dislike, fixing that problem, and then repeating that process over and over. There’s one song on Omens of Perdition that’s an exception to this rule — “Executioner’s Canticle” was built around a structuring technique I had noticed Morbid Angel using on “Maze of Torment”.
JH: Currently PB writes all Condemner material and most of the lyrics (I wrote “Blood on the Oak (Death’s Wisdom Great)”); an arrangement that is working well. PB and I are located several hours apart and lack a human drummer, so “jamming” in the traditional sense isn’t really an option.
CM: Being from Texas, are you part of a uniquely regional style or does your expression of death metal run counter to any regional paradigm?
PB: I don’t think there really is a “Texas death metal sound” in the way that there’s a “Stockholm death metal sound” or a “New York death metal sound”. That said, I think it’s obvious that Imprecation and Blaspherian had an influence on Condemner’s style.
JH: While Texas has some of the strongest contenders to the death metal throne in its ranks, I would not say that Condemner sounds like many acts within our region. I believe that the closest would be in the form of some of the Houston death cults such as Imprecation and Blaspherian, but we are far from clones.
CM: What are the plans for Condemner’s future? Do you intend to gather a full line-up for live shows?
PB: No live shows are planned. I’m not opposed to the idea, but JH and I live about four hours apart, so logistics for rehearsals would be difficult. As for what’s planned for the future, most immediately, physical versions of Omens of Perdition will be coming soon — ZKD, whose work you have seen on the cover of all three issues of “Under the Sign of the Lone Star”, has agreed to do the cover art. A second demo, “Burning the Decadent”, with four more songs written in the period from 2009-2015, is planned; I currently plan on beginning the recording process in the Spring, which means you’ll probably hear it some time in the Summer. What happens beyond that is unknown, and dependent on the resources available and how long it ends up taking me to write new material.
JH: The reception to Omens of Perdition has been killer for sure, and there will certainly be new material. There are plans for a physical format of Omens as well, as the cover art is still in progress.
It would be great to perform these songs on a stage some day, although PB and I are currently separated by a distance of several hours which makes the idea of rehearsal logistically complex. I also maintain a heavy schedule with other bands not named here (as I do not want Condemner to be any “featuring members of X” act – it stands on its own) which adds complications to the idea of getting together to play live. Still, I certainly wouldn’t rule it out in the future, especially since live session members wouldn’t be hard to find within my network.
CM: Any last words?
PB: Thanks to Deathmetal.org, both for the support of Condemner, and for keeping the flame of the DLA alive! As mentioned, physical copies of Omens of Perdition will be available soon– keep an eye out!
JH: Thanks to all who have supported this group in its short existence, including Left Hand Path Designs for the excellent logo. For the unaware, Omens of Perdition may be downloaded for free on the Condemner Bandcamp (a pay option is also provided for the inclined). Nothing more needs to be said — the music speaks for itself.
Perhaps it was to be expected from the quality of their earlier works, but Sadist’s Hyaenawas one of the high points of what I listened to in 2016. With that in mind, I took the opportunity this Italian band provided to perform an email interview, with some hope of getting some insight into what makes Sadist themselves.
The band’s vocalist (Trevor Nadir) fielded my questions, discussing the past, present, and future of the band and giving us a better picture of what went into Hyaena in particular.
You formed in 1990, right in the middle of the first major flowering of death metal. What was the metal scene in Italy like back then?
TREVOR: Happy Metal Year!
The 90’s were very important for the Death Metal. Death, Cynic, Cannibal Corpse, Carcass, Deicide, Obituary, Morbid Angel and many others have contributed to birth and consolidation of the genre. In our country there were many Death Metal bands. It was certainly much more difficult, the correspondence with the other bands was only through physical mail. I’m very close to Death Metal of the 90s, for me the music stopped at that time, have a nostalgic and I would go back to those years. Sadist was the first band in Europe to add keyboards to Death Metal, we have always been a band that likes to experiment, keyboards were a strange thing, especially in those years, but we are very proud, this is our trademark, of which we are proud of still!
This is a more obvious question, but who are your influences? Have they changed with time?
TREVOR: Each of us listens to different music, perhaps for this reason, the sound of Sadist is contaminated with various styles. Sadist is absolutely a Techno Death Metal band, although in our sound there are other inspirations too: We all love Italian 70’s prog and ethnic music as well. In the past we experienced may ethnic instruments but the new album Hyaena, although it may be misleading, this is not an album about Africa, but on a concept centered around a ruthless predator, who lives in Africa.
We are professional people, we like to be prepared before to put out a new album and we always need to be satisfied of it, first of all. Sadist is a band devoted to technical, Tommy, Andy and Alessio are very prepared musicians, people who have dedicated their lives to their instruments, and very serious guys with one and only personal goal: to always improve. The technique is certainly important but, above all, we must think about the songwriting, the technique must be functional to the music and not an end in itself.
Building off the previous question – how has it changed in the last 25 years?
TREVOR: 25 years ago it was different, it was definitely difficult. Today we are doing interviews via email, on a day we can connect several times around the world, work remotely is something normal. Think of how hard could it be that only a few years ago, can reach somebody or something. However there is also something that works worse, in fact I think that today, it’s all too much and take away, music, bands are increasingly less durable and is no longer the time for rock stars. There is a great saturation and the band, especially the younger ones make great effort to stand out, it is increasingly a question of money. This is not a good time, we hope that the trend changes.
What inspired you to make a concept album about hyenas?
TREVOR: I always take care of the lyrics and the concept album of the album too. I’m a convinced naturalist, I always loved and respected very much the wild hyena. It’s a skillful hunter, smart, and very strong, many people believe it is only an animal that feeds on carrion, a thief, a street sweeper, but this is a myth, the hyenas are ruthless hunters, animals with incredible strength and intelligence, adaptable to any situation. Inside text can be found habits of the herd, hunting tactics, ancient legend which tells that the hyena is ride from the devil, the brutal nature of the animal devour their prey alive. Our music is brutal and the combination with the hyena was something natural, we are talking about an extremely brutal animal. We were lucky enough to pose for new photos with a skull of a hyena, who died in 1888, and we have thank for that all the staff of the Museum of Natural History “G. Doria” in Genoa, Italy.
I love Hyaena…
Hyaena strikes me as, at least in part, inspired by recent developments in metal and progressive music (although I can hear some of this on the previous album as well). Is this your intent? Any particularly recent musical influences of interest?
TREVOR: I would say no, simply Season in Silence was supposed to be a springboard to do better next time and we believe that Hyaena is now the most mature album of the band. Every Sadist’s album has different sounds, We are a band that remains faithful to experience, which is why our albums sound different from one another. Season in Silence is colder, both for the lyrics and the music, with Hyaena instead we resumed ethnic and tribal instruments, close to Mediterranean tradition. It’s hard to make terms of comparison… Although, as mentioned before, We are certain that this is the best chapter of the band up today. Hyaena is a very Sadist album, containing our Death Metal matrix, but at the same time it was our intention to go back on the tribal and ethnic sounds, already used on albums like Tribe and Sadist. On Hyaena We wanted to get to the bottom and We’ve asked for help from Jean N’Dyaie, a great musician, a talented African percussionist. We simply wanted to bring to African culture, their sounds, their habits, We need all of this. Tommy has played many instruments linked to African tradition, like the oud and the santur, We did a thorough search in the traditional sound. Hyaena is a Death Metal, brutal, tribal, ethnic, Mediterranean and terribly Sadist album!
Since you’ve had a keyboardist from the beginning – how do you go about adding keyboard parts to your music?
TREVOR: As mentioned earlier, Sadist born with keyboards, this is our strong identity. Tommy is now known, as the musician playing two instruments simultaneously. It’s an incredible musician. Needless to say, many songs take ideas from the structure of the keyboards, the initial ideas on which is built the structure of the song. We could not think of Sadist without keyboards. We are then to be honest these keyboards are the instruments that characterize the disturbing and horrific soul of our band.
Many of the tracks on Hyaena avoid merely using simple verse/chorus structures. How formal/planned is your composition process these days?
TREVOR: We are a Techno Death Metal band, surely, it is true, however, that we want to keep in mind that we are talking about the songs and the structure has its own importance. Get Death, a band that was technically prepared, but it certainly can not be said that they did not songs, the whole song is what you have to stay ahead. We must try to give space to each individual instrument, absolutely, but one thing is certain, the song is not to be raped.
As a corollary to that, has the way you approach songwriting changed significantly throughout your career?
TREVOR : Sadist is a band that works as a team. Each of us carries out our task to the best of its ability. We are ambitious people, who do not save. Music and lyrics are walking side by side, while Andy, Tommy and Alessio were busy writing songs, I was far from the chaos of the city, and I took care of the lyrics. Each of us is aware of what it takes to the band, the certain sound, the particular phrase.The initial ideas are dictated by Tommy and Andy, though, with the new album, the contribution of Andy was particularly important; really inspired when writing riffs. Our music is generated accordingly to the issues addressed in this way we can have the right impact.
What’s your favorite part of Hyaena? What’s something you think can been improved?
TREVOR: We are very happy about the new album. Sometimes it happens that at the end of the recordings you think something could be improved, this has not happened this time. We worked in our Nadir Music Studios, by taking the time needed, working with the necessary calm you can afford to do things in the best way. Personally I am very attached to “The Lonely Mountain”, it’s the first videoclip for the album, a song that’s very Death Metal.
What other bands, metal or not, do you guys listen to/think are worth following these days?
TREVOR: There are so many good bands, but as mentioned before, are tied to Death Metal. The 70/80’s and 90’s have spoken and given a lot to the music, it’s hard to think of something new. Despite the young guys, all play very well, maybe what it is not is their originality or at least their attempt at being original. Having everything at once is perhaps killing their genius.
A question lifted from another interview we had on our site: What do you attempt to capture, express or communicate through your music? Or is this even the goal of music? Is music communication or decoration? What is the goal of your art?
TREVOR: Making music is an art form, certainly. The messages may be different. Playing Death Metal means venting their anger inward on the system, but at the same time means telling, through the lyrics, your thinking or your mood, this also peer through the melodies of the instrument. The music is not only heard, it should be read, viewed, stored.
What are your plans for the future like? Any upcoming touring or new material we should know about, or is it too early to say?
TREVOR: As for the promotion, by the time we organized with our label Scarlet Records, we want to make a great team effort, people are professional and prepared, and there is great mutual respect. But a good promotion also involves the live set, which is why we started to try, are not canonical songs, and certainly not easy to play on stage, you need preparation. About upcoming releases, together with our booking agency (Live Nation) are working on the next steps, we received a number of proposals, even for a couple of tours in Europe, we expect to be on stage as soon as possible, we are excited by the idea of play the new songs. We want to do our best, in any event, provide a spectacular show to the public , carry the name Sadist as high as possible, and then who knows, reprint the first album and think of a new album. We’ll play at the next Hellfest, and other festival, and we hope to play in the USA; we have many friends and fans who are waiting for us.
If you have any closing remarks you want to make, now is a good time to write them.
TREVOR: For many years I documented the animal in question. I’m really interested, especially for its hunting techniques, although not underestimate the importance of the pack and hierarchies within the same. Animals are crazy, very strong, resistant, challenging and hunt prey much larger than them, and at the same time you also have to cope with other predators, much larger. In this respect, according to what was said earlier, is the number to make a difference. The hyena is a voracious predator that brutally tears apart its prey, an unwitting and innocent murderess. Not scavengers, nor thieves, and they don’t eat only carrion, absolutely not, indeed, are sometimes other animals, such as lions, hyenas to steal the hunted. For many years I document, through books, movies, stories. Television is a stupid means, however, in the 80’s and onward, it allowed me to deepen this interest, thanks to interesting documentaries.
The hyena is an incredible animal, charming, because it’s my favorite predator. We must dispel the myth, the hyena is not only a scavenger carnivore, it also feeds on carrion, but is a skilled hunter, which has a strong team spirit and where within the song applies a strict hierarchy, where the matriarch has absolute power. He saids that the devil comes in the night riding a hyena, and that that the hyenas dig up the corpses. After their death the eyes turn into stones, and Zambezi sorcerers, devourers of men, took the form of a hyena, they appeared to the dead, that they rose and were torn to pieces. Around the campfire, it consumes the sacrifice of a young goat, putrid flesh of zombies and fresh meat for the last dinner. All of this is “The Devil Riding the Evil Steed”.
All the best to you, staff and readers. Stay Brutal!
Louder Noise recently interviewed Biff Byford, the long working frontman of the famous NWOBHM band Saxon, about his opinions on how heavy metal music has changed since his band’s commercial peak in the early-mid 1980s. Some of his insights are fairly obvious (the return of vinyl, fashion trends have changed, new genres); although others are more interesting – for instance, he mentions that Saxon experimented with early digital recording methods even earlier in their career. Building off the previous interview we linked featuring Steve Wilson, you could begin to make a case that many professional, successful metal musicians are particularly interested in keeping abreast of aesthetic trends in the genre. You’d need more evidence to back that up properly, but the local corollary that applies is that the composition process need not change as much with time.