Grievance
Echoes from the Abyss

Grievance, a stalwart of the Portuguese black metal scene, has journeyed through decades of musical evolution, from its inception in 1997 to its current incarnation as a solo project helmed by Koraxid. Their latest compilation, “Antologia 1997-2024”, released in May 2024, offers a retrospective of their sonic odyssey, featuring unreleased tracks, demos, and the 2016 single "Perante O Céu Infernal".  This collection not only showcases their musical progression but also reflects their deep connection to Portugal's cultural and historical tapestry.

In this interview, we delve into the band's origins, their thematic explorations, and the personal journey of Koraxid, the driving force behind Grievance.

Genesis of Grievance: Grievance was founded in 1997 by you and Azarath. What inspired the formation of the band, and how did your musical backgrounds influence its early direction?

Both of us were fans of Black Metal and were colleagues in my first band called Tenebrous Dominancy, I was the drummer and Azarath was the bass player. Due to the need to express ourselves using other musical ideas we decided to create a side-project, called Grievance. We wanted to sing in Portuguese and a more simple and experimental musical direction, playing Black Metal both ambient and traditionally.

Transition to a Solo Project: In 2011, Grievance became your solo endeavour. Could you elaborate on the circumstances that led to this shift and how it impacted your creative process?

The main reason was the physical distance between the founding members, in the year 2000 Azarath moved to England and a couple of years later to southern Spain, the band had to stop all activities due to that problem, and Grievance simply could’t work rehearsing and composing on the distance. The band was revamped in 2006 because I vas living in Faro, southern Portugal and the distance then was less (about 450 km), so I travelled a lot of times to Spain to rehearse with Azarath, also a Spanish guy was added to the band on Bass Guitar, Enjendro. From those times the second demo was created, but there were a lot more tracks, that remain unreleased and unfinished. From 2007 onward I moved once more to my hometown in Central Portugal and the band had to stop again, so some years later I spoke with Azarath and told him I wanted to proceed with the band as a solo project, and he agreed. All of this was made in a friendly way, and me and Azarath still have a good friendship, and he still collaborates with the band, making the promo pictures (he is a great photographer), and sometimes even playing or composing guitar, synth or bass passages in some of the band’s releases.

Live Performances: After a hiatus, Grievance returned to the stage in 2018 with a live lineup. How did this reintegration into live performances affect the band's dynamics and your approach to music?

The live lineup was gathered to expose my solo work with Grievance in a live environment, I do enjoy performing live, it is a great experience to me. In the beginning it was kind of weird to have session members, I never had such thing, but you get used to it, i guess. The band’s dynamic remains the same, all music is still composed and recorded by me in my home studio, the live members only perform the tracks live, the musical approach is also the same, maybe now sometimes I am more concerned on writing music for 2 guitars, bass and drums, the instruments that are used in live performances, but overall the liberty to write whatever I want remains mainly untouched by this factor.

Thematic Exploration: Your music often delves into themes of darkness, ancient landscapes, and introspection. How do these themes manifest in your compositions, and what personal experiences or cultural elements influence them?

I was raised in a rural environment, full of legends and history, and these thematics always interested me, so it is natural that I incorporate those kinds of ideas and concepts into Grievance’s music. I used to and still take big nightly strolls through the landscape, always accompanied by my cassette Walkman in the nineties, and now by my wireless headphones and smartphone (how times change). those visions inspire me to write music for the band. Also, my personal experiences and thoughts take a great part in Grievance’s vision. I try to take a very diversified thematic approach; there are so many things you can talk about…

Influence of Portuguese History: Albums like “Em Lucefécit” draw inspiration from Portugal's history and folklore. Can you discuss how the country's past shapes your music and lyrics? 

These thematics always interested me, Portugal is one of the oldest countries in Europe, and there is the history before it was even a country, so many invasions and different cultures have passed here. There are so many histories to talk about, so I am trying to explore that, a track at a time.

Evolution of Sound: Over the years, Grievance's sound has evolved. How would you describe the progression of your musical style, and what factors have contributed to these changes?

After the band went solo, in the first album, the tracks were more ambient and slower, with the insertion of Portuguese Guitar, used in Fado, a traditional style of song of this country. From that the sound evolved for a more intricate and diverse songwriting in the second album, on the third album the sound gets more blackened and extreme, faster too, and the “folkish” approach disappears, but the Portuguese lyrics remain, as for the concept of the title track and a couple of more tracks. That kind of mix between more ambient and slow tracks, fast parts, blackened sound and the return of more folk elements on the fourth album I think it was the culmination of evolution of the band, and it is the path I am willing to continue to explore in the forthcoming releases from Grievance. The evolution was natural and not forced, just me trying to explore my capabilities as a musician and songwriter, doing music I love, independently from external factors or opinions.

Songwriting Approach: As a solo artist, you handle all aspects of composition and production. Could you walk us through your creative process, from initial concept to final recording?

I have a strange approach writing music, because I am mainly a drummer, that was the first instrument I have learned and still is the one I am better at performing, I start with the drums, I record improvisations for the tracks with no previous idea of what is going to happen, I just sit on the drum kit and create the tracks as I play. I need sometimes to make some post-production, sometimes cutting and pasting some parts but nothing is sequenced or looped, all is played and recorded by myself on the first take. Then I start creating riffs and making guitar arrangements and solos for the tracks, then I add the bass guitar, synths, effects and Folk instruments, namely Portuguese Guitar. Only then I write the lyrics and record voice on the tracks, so it is kind of an inverted process, compared with the traditional approach of making the lyrics or guitar riffs first.

Recording Environment: You record at Axe Farm Studios. How does this environment influence your music, and what role does it play in the production of your albums?

Yes, of course, the studio is located in the countryside, next to my home, sometimes I take long strolls through the wilderness to be inspired and then start recording and composing tracks, I can play at any hour of the day or night, because I don’t have neighbours, the place is isolated, this is a big help in creating the perfect environment to make a good Black Metal album.

Collaborations: While primarily a solo project, you've collaborated with other musicians. How do these collaborations enhance your music, and what do you look for in a collaborator?

It is always a pleasure to me to interact with other musicians, they always bring something new to the table, I don’t have nothing special to look in a collaborator, it can be a virtuoso or someone with not that much skills, it can be someone from the Black Metal scene or not , the main idea is to spontaneously create something interesting with their contribute in a new release from Grievance, it is something that is not programmed to happen, and it is not mandatory to happen in every release.

Audience Reception: How has the reception to your music evolved over the years, particularly with the release of “Antologia 1997-2024”?

The reception was very good, “Antologia 1997-2024” was just a compilation with the demos, rarities and a new track, not a new full-length album. “Antologia…” was the closing of a chapter, with all the remaining material from the first releases finished and a new track to show the band’s musical direction, I had lots of compliments for this release, so I am quite satisfied with it.

Critical Acclaim: Your work has garnered attention from various media outlets. How do you perceive the critical reception of your albums?

To me it is not the most important aspect, but overall, the reviews and impact of the albums and live performances have been very good, lots of good reviews and interest from the worldwide media and audience, I cannot complaint about that, but as I said, it is not a relevant issue to me.

Legacy in Black Metal: Where do you see Grievance fitting within the broader landscape of Black Metal, and what legacy do you hope to leave?

I think Grievance stands as a mark of continuity, resilience and invoking of the finest times in Black Metal, not because it was along time ago (the nineties), but because it is unanimous that the best releases within the genre were made on that time, I strive for the best and the most interesting and touching art within Black Metal. And I will never stop the search and creation of new music and improvements on the Grievance sound. I also want to forge my own sound, inspired by my musical influences and Hyberian roots, as the Nordic Black Metal circle exists, the southern Black Metal circle counts and will count on the band’s contribution to expand and grow.

Upcoming Projects: Are there any new projects or releases on the horizon for Grievance?

Yes, there are. Since July 2025 a new full-length is being created, the drum and guitar parts are already made, and I am working on it as much as I can. It will be scheduled to be released in the first months of 2026; more info will be revealed on the official Instagram page of Grievance as the process evolves…

Musical Exploration: Do you plan to explore new musical territories or themes in future works, or will you continue to delve into the dark narratives that have defined your sound?

Grievance will continue to perfect and evolve its sound; my idea is not to make “clone” albums but at the same time to maintain a certain path of continuity. It is a fine line to walk in, but I am, as always, determined to accept the challenges that are waiting for me as a composer.

Live Performances: How do you approach live performances, and what can audiences expect from a Grievance show?

On the live performances you can expect total devotion, delivery, passion and extremism. I also have a special attention to immerse the public on the thematic of the songs and to ritualize the performance, using fire and steel, on the form of candlelight and sword rituals and invocations of the old Hyberian gods. It is a work in progress, as I am always trying to improve on this aspect as I get more experience playing live.

Grievance's journey through the realms of black metal is a testament to the enduring power of music as a medium for personal expression and cultural reflection. From its early days in 1997 to the introspective compositions of today, the band's evolution mirrors the complexities of the human experience. As they continue to explore the depths of darkness and history, Grievance remains a significant voice in the Portuguese black metal scene and beyond.

GRIEVANCE OFFICIAL BANDCAMP