Coming out of Portugal, BUZARATE is not just another heavy project — it is a fully self driven creative outlet built from the ground up by one person, pushing through isolation, frustration, and personal upheaval to create something raw and uncompromising.
The debut release GRAVITAS stands as a statement of intent. Blending sludge weight, doom atmosphere and hardcore aggression, the record feels physical, confrontational and deeply personal. Every element of it, from writing and performance to recording and production, has been handled entirely by the project’s creator, making it a true DIY release in every sense.
What makes GRAVITAS hit even harder is the decision to deliver it entirely in Portuguese, adding another layer of identity and authenticity to a sound that already refuses to conform.
We caught up with the mind behind BUZARATE to talk about the origins of the project, the making of GRAVITAS, and what lies ahead.
Origins of BUZARATE
BUZARATE is described as a one man project built entirely through DIY ethics. What first pushed you to start this project in 2022, and what did you want BUZARATE to represent musically or creatively?
Well, 2022 was when I finally gathered the courage to start laying down vocals. It was something I had wanted to do and had been mentally preparing for years. It felt cathartic, and I believe that shows on the record. A lot of pent up energy came out, even if it was imperfect or lacked the technique I have now, it always felt right. I had been building my self production knowledge for years, and since technology is now accessible to most people, the timing was perfect. I guess I got the 2020 lockdown memo a couple of years late.
Creatively, I am a firm believer in free will and self agency. If you want something done right, you have to find the means to do it yourself. That’s exactly what I did, I heard the music in my head and it had to find its way out. That need for self affirmation, for imposing myself into spaces where I might feel like a stranger or the oddball in the room, made me want the sound to be powerful and impactful.
It’s my way of saying “I’m still here” after all the trials and tribulations. There are no limits to my yearning to learn and improve from my mistakes, regardless of diverging opinions. The lyrics reflect that journey, but I prefer to leave things open for interpretation. Once the music is out there, it’s out of my reach, and I’m perfectly okay with that.
You’re originally from Madeira and later spent years immersed in Lisbon’s experimental scene before settling in Cartaxo. How did those different environments shape the sound and identity of BUZARATE?
For many years, those environments felt like polar opposites, but in retrospect, they share more in common than one might think. Both are governed by the unspoken “Tall Poppy Syndrome” rule. So you shouldn’t be too ambitious or dabble in mainstream territory unless you’re willing to completely sell out and be a public punching bag. As a rule of thumb, both require thick skin.
The difference lies in the delivery. In Madeira, people are blunt and they have no problem rejecting you, your ideas, or your place in a group. In my experience, being “smart” or a “geek” doesn’t grant you any favors there, so either you play the game, or you’re out.
Lisbon, on the other hand, can be quite delusional regarding social hierarchies and the networking required to belong. It’s a very bureaucratic environment, fertile ground for introverts, but with the added twist that people often believe they are at the center of a fallen empire.
I suppose I carry both traits within me, for better or worse. That duality shows in my music, being both assertive and restrained, but I believe the “special sauce” comes from a massive middle finger pointed at the Tall Poppy advocates.
Before BUZARATE you were involved in projects like AVOIDANT, Earthly Beasts and Bird Swarm. How did those experiences influence the direction you took with this heavier, more aggressive project?
In Madeira, I was in and out of metal bands and projects since I was 16, mainly as a drummer. Nothing you would have ever heard of, nothing was ever released or performed live beyond rehearsal spaces. Later, in my twenties and thirties, I moved into what I would call laptop music, supported by experimental collectives in Lisbon. Honestly, both experiences were disappointing in the long run and nothing truly satisfying came out of them, only personal frustration.
In Madeira, things often fell apart due to the age old clash between drummers and guitarists. I was the drummer, so naturally, my riffs were usually dismissed as bad ideas. Moving to Lisbon was a complete shift in sound. I found it comfortable to make hermetic music for a handful of people with the longest attention spans on Earth, or so they seemed. People in that scene are friendly and inclusive at first, but what started as a solid plan eventually became a directionless and unsustainable battle of egos.
I eventually took some time off to reassess, focus on other things, and figure out what actually made me excited about being a musician. By then, rent in Lisbon had become ridiculous due to gentrification, so I gladly left and moved to Cartaxo, in the Ribatejo region.
Throughout all these years, I never stopped writing riffs and building songs on my own, slowly developing thick skin against gatekeepers. I record every instrument in BUZARATE and I am master of none, but I know enough to come up with stuff I like.
Once the personal storms calmed and grief and forgiveness had settled, I lowered my guard and finally allowed myself to record what I had always wanted. It took a while to silence that inner critic, but I eventually decided to pick up right where I left off in Madeira.
The Creation of GRAVITAS
GRAVITAS was written between 2022 and 2024 and recorded entirely at home. What was your recording setup like, and how did the DIY environment shape the sound of the record?
GRAVITAS was a slow burn process. The initial stage, structuring, arrangements and tempo mapping, began in a small office space I rented in Almeirim, also in the Ribatejo region. My process was quite fluid. I would record rough drum tracks on my electronic kit at home in Cartaxo and polish them later, or lay down a riff to a click, sit with it, and then try things out at home.
During that first year, I really leaned into the idea that I had all the time in the world. However, my self doubt was still very loud, with intrusive thoughts telling me I would never pull it off. Eventually, I moved everything into a room at my house in Cartaxo, which has been the base ever since.
My setup is very simple. Most of the investment went into a reliable computer to handle processing. I use Reaper as my DAW, affordable amp simulations for guitar and bass, and a free drum library that gets the job done.
My instruments are mostly store brands. I use different guitars depending on tuning and texture, along with four and five string basses. For vocals, I rely on mid range microphones that deliver solid results.
I truly believe this fits the narrative of GRAVITAS. If you are not confident in your ideas, expensive gear will not fix that. Most listeners will not care what equipment you use. If the songs connect, that is what matters.
The EP feels very physical and raw, but still groove driven and deliberate in its pacing. How did you approach building that balance between sludge weight, doom atmosphere and hardcore aggression?
It is a blend I have always wanted to hear. I have always been drawn to slower riffs, even though I enjoy faster music as well. There is something about slower, heavier riffs that creates more impact.
As for the vocals, when I started recording them, they naturally took that shape. It felt honest, and the lyrics sit well with the riffs. When you are working alone with nothing to prove, you have the freedom to follow what feels right.
Dynamics, tension and release have become more important to me. In the past, my work often built up but never fully delivered. Focusing on memorable riffs and strong moments has helped open new directions.
I know the word groove can divide people, but I embrace it fully. I am not interested in limiting myself just to fit into a specific scene identity.
The record was also meant to sound like a band playing together in a room. That is why I left imperfections in the recordings. During the making of GRAVITAS, I saw more and more people turning toward artificial tools to generate music, and that pushed me even further in the opposite direction. I wanted something human, flawed and real.
The release came out of a turbulent period filled with grief and upheaval. How much of that personal experience made its way into the music and lyrics?
Not all of it, but every word comes from real experience. I still have material left for future releases that explores other parts of my life.
I prefer writing lyrics that leave space for interpretation rather than spelling everything out directly. I am not interested in being overly literal. I want the listener to find their own meaning in the words.
The themes can come from personal relationships, but they can also reflect broader ideas about conflict, identity and human behavior. I like writing in a way that allows multiple readings depending on how you approach it.
Language and Identity
One of the most striking things about BUZARATE is the decision to perform heavy music entirely in Portuguese. Was that always the intention, or did it develop as the project evolved?
At this stage of my life, it was the only way forward. English will always be my second language, but Portuguese is where my identity truly sits. It carries my experiences and my cultural background.
Writing in Portuguese became essential to expressing my truth. It is tied to who I am and where I come from. Authenticity became more important to me over time, and this was a natural step.
In a scene where English dominates heavy music, do you feel that singing in Portuguese changes how the emotion comes across?
In my earlier bands, I wrote almost entirely in English. Over time, I realized there was a gap between what I wanted to express and what I was actually saying.
Your first language carries your strongest emotions. For me, anger and intensity come through much more naturally in Portuguese. It feels more direct and honest.
That said, I have no issue with bands using English. This was simply a personal decision about how I wanted to express myself.
Bands like Besta have also pushed Portuguese language heavy music forward. Do you see BUZARATE as part of a wider movement?
I am still very new compared to bands like Besta. They have done far more than I have. I am proud to be part of this direction if people see it that way, as long as it stays about the music and not tied to anything else.
Bands like Besta, Surra or Kvelertak show that language is not a limitation. Great music stands on its own regardless of what language it is in.
Songs and Themes
The EP opens with “SIBILA” and closes with “A VALA COMUM… EXTINTOS.” How did you approach the sequencing of the record, and is there a narrative or emotional arc running through the four tracks?
Definitely. There was a lot of thought put into the sequencing. An earlier version of the record made the arc even clearer by dividing it into two distinct parts.
“SIBILA” and “ASSOMBRO” are thematically linked, dealing with a carnal and intimate oracle figure, one that is dominant and manipulative toward the narrator’s will to power. What links those tracks to “TRONO” and “A VALA COMUM… EXTINTOS” is the aftermath, a struggle for self preservation against an embodiment of that oracle as a mother figure.
As for the sequencing itself, I originally had more ambient and moody interludes between sections. In the end, I decided I wanted a direct and impactful record with no filler. The final version is meant to hit immediately and leave a mark.
“TRONO” became an early focal point for the release and helped bring BUZARATE to wider attention. What makes that track special to you, and why do you think it resonated with listeners so strongly?
I think “TRONO” represents the full range of the EP and contains elements I want to develop further on the next record. It has a strong melodic backbone, which helped it stand out.
Choosing a focal track was difficult. For a long time, “SIBILA” held that position for me, but after refining “TRONO” and working on its dynamics, I realized it had something unique. The way it builds, drops, and returns to the main riff gave it a strong identity.
I always follow my instinct. If I am honest in what I create, I believe someone out there will connect with it. That is how music has always worked for me.
The lyrics and atmosphere across GRAVITAS feel bleak, intense and confrontational. What themes or ideas were you exploring while writing the record?
At its core, GRAVITAS explores internal conflict. The tension between opposing sides of the self.
The oracle figure represents different forces that influence the narrator, but nothing is strictly defined as good or bad. Perspective changes everything. What one person sees as an antagonist, another might see as a necessary force.
The themes revolve around loss, grief, desire, and the process of moving beyond survival toward something with deeper meaning. For me, one of the most important steps in that process is learning to forgive yourself before you can move forward.
Reception and Exposure
“TRONO” was featured on Alta Tensão on Antena 3. What was your reaction when you first heard BUZARATE played on national radio?
It was huge. I sent a cold email to António Freitas and fully expected to be ignored. Instead, he replied the same day and asked if he could play the track.
I have followed his work since I was a teenager, so hearing my music on that platform felt surreal. It meant everything to me.
I even recorded my reaction when it aired. It was a genuine moment of joy. I am starting from zero, no connections, no industry backing, so moments like that prove that the music can stand on its own.
The project has also picked up attention internationally, including mentions through BangerTV. Did you expect the record to travel beyond Portugal so quickly?
Not at all. That was another major moment.
I have followed BangerTV for years, so reaching out to them felt like a long shot. They were incredibly supportive and even took the time to get the details right.
Hearing my project mentioned alongside artists I respect was surreal. That moment brought a lot of attention and helped push things forward.
The Future of BUZARATE
Right now BUZARATE is a solo project. Do you see it staying that way, or could you bring in other musicians in the future?
For the next release, I will likely continue working alone, but I am open to bringing in guest musicians if it fits the vision.
For live shows, I would want to perform as a vocalist with a full band. It would have to be the right group of people, not just hired musicians, but individuals who connect with the music on a deeper level.
Now that GRAVITAS is out and gaining attention, are you already working on new material? Where do you see the sound evolving next?
Yes, I am already writing. There are things I want to improve, and I am aiming for a full album next, somewhere around seven to nine tracks.
The goal is to expand on the sound of GRAVITAS and push it further. Tighter songwriting, stronger production, and a more refined execution overall.
I have a writing board at home where I track everything, and right in the center I wrote a message to myself:
“If you think the first record was good, wait until you hear the second one, it is going to be amazing.”
That is the mindset going into the next chapter.
Outro
There is something powerful about a project like BUZARATE.
Built from the ground up with no safety net, no industry backing, and no compromise, GRAVITAS stands as a raw and honest expression of identity, struggle, and creative independence.
With a clear vision, a refusal to follow expectations, and a sound that feels both heavy and deeply personal, BUZARATE is not just a project to watch, it is one to feel.
Links:
Spotify: https://open.spotify.com/intl-pt/artist/5aRlOyBHzG45j5zoURz5nU?si=rc0Vd7KISqO8fnR1gceNog
Bandcamp: https://buzarate.bandcamp.com/
YouTube: https://www.youtube.com/@guerrilla.buzarate
