Ex-Dogma Guitarist Patri Grief: “Our Voices Will Not Be Silenced”
Last week, three members of Dogma, vocalist Grace Jane Pasturini (Lilith) and guitarists Amber Maldonado (Lamia) and Patri Grief (Rusalka), announced they were leaving the band because of issues with their management that included “unilateral decisions, broken promises, manipulation, mistreatment, and lies to the fans.” Now, Grief has shared another statement about her feelings toward the situation, and she wants to make sure we know that her and the girls are going anywhere. I know that’s right!
Grief released the following, quite long statement:
“The Rusalka that once was, and will always be
“Hey guys. Rusalka (Patri Grief) here. I wanted to talk a little bit more about the recent events, what happened, why it happened, and shed some light on the situation.
“In November 2023, I was contacted to be part of Dogma; I immediately fell in love with the project. I instantly fell in love with the aesthetic and songwriting. It seemed like a once in a lifetime opportunity. I was hired as Rusalka, and the adventure began.
“You might already know how much I put my soul into this project, always bringing ideas, collaborating with my drawings on drumheads and cards, going to the merch booth every single night, and overall, defining who Rusalka was. Rusalka is based on a very, VERY personal thing that I went through, and I somehow felt the fans really connected to the character in multiple ways. Rusalka was unhinged, crazy, slightly creepy, but always supportive and there to listen. Several of you reached out to me through the character’s account seeking help, which I was always happy to give. Some very personal information was shared, from the fans and from me, yet the account was taken away by the management the minute I was not admitted into the United States.
“I gave my everything into this project because, even if things felt off with the manager. I kept thinking ‘you’re doing this for them, and you’re doing this for the teenage Patri who needed you the most.’ I believed Dogma was about “giving a voice to those who don’t have one,” which resonated with me. As a child, I always wanted to become a professional musician specifically for that reason: to give shelter. I hid in music when I needed it the most, and I wanted to return the favor. With that in mind, I went to the merch table every night, read every fan message, and answered all that I could. As the character evolved, so did I. The fans that I met — I wouldn’t even consider them as fans, but friends. I was, and still am, willing to give my all to them.
“This management took advantage of my kindness. I was willing to do so many things for free, and, of course, I barely received a “thanks” in return. But the minute I set a boundary (as in, “Hey, I’d rather not let you use my gear without permission”) I was met with “you’re showing that you’re not committed to the project.” The minute I said “Then why would I be helping with the merch? Why would I be assisting the two new guitarists, if I was not committed to the project?” I received a “I paid you accordingly.” I was given a 100€ tip at the end of three tours, which, as you can imagine, doesn’t even match the minimum salary for the work that I had been doing. But still, it’s fine, because it was my idea, and I never did it for the money in the first place. I did it for you, for me, and for Rusalka, as she was born from the crazy and misunderstood.
“He used the fact that he tipped me to make me shut up, and then he said that it would be better if I stopped doing it for this US tour. He’d rather stop the connection between musician and fan than recognize the efforts I put into the band.
“The reason why I am no longer in the band is rather simple: I wasn’t accepted into the United States because management wouldn’t provide the proper VISA. I watched another member get kicked out simply for asking for the correct working VISA, so it seemed pretty clear to me: either go on tour, or be replaced. There was no other option. I flew to the US with the person who was supposed to be the new singer. We were both interrogated and detained. They took our phones (you can imagine how worried my family was), belts, earrings, and even our shoelaces. After 48 hours, we were sent back home.
“The minute I turned my phone back on, I had a message from management saying “hey I found a replacement, could you teach her the songs?” Not even an apology for taking the risk! Only him asking for more. When I got back home, I told him that I was detained for 48 because of his poorly made decision, to which he answered “nobody forced you to do so. It was your decision, and you got caught because you were wearing a Pirate Queen t-shirt under your hoodie.
“I was done. I was done because throughout all the fours, I’ve had to deal with eating only twice a day because he didn’t want to provide three meals. Every time I voiced my concern, I was shut down with the response of “no band ever demands that kind of thing,” while seeing bandmates cry under conditions that we accepted because of the opportunity. Every time I tried to discuss issues, I was met with gaslighting. I was treated poorly for having discussed the contract with another bandmate in order to receive better conditions. I was unable to organise anything in my life because of multi-month tours being planned with little notice. I was pressured into buying a piece of gear (aside from the guitar) that was “mandatory” which ended up not being necessary at all, it was instead used to carry vinyl and CDs instead of my guitar without my permission. The response? “Nobody forced you to do so, it was a suggestion.” I was told “Do you think I’d still hire you if I had more money? Sorry to say, but the minute I can start paying more, I gain access to the people who charge more.” Any time anyone expressed frustration with the situation, the response was “They need to f*ck to be calm” or “They complain too much because they’re women.” I was sick of him putting us down in order to keep us small and silent.
“Despite all of this, being a touring musician has always been my dream, and I loved Dogma, the idea, the concept, the character I played, and the possibility of giving to Music at least a little bit of what Music gave to me when I needed it most.
“Grace, Amber and I are not letting you down, and we will stand up for ourselves and the music we play. This management still has outstanding obligations, as ultimately it was his responsibility to provide what was required for a safe work environment. He failed to do so in a gross negligence which cost me and a poor girl — who didn’t even get the chance to sing one show after spending 48 hours in detention. It was a trip that led to nothing but disappointment. I was disappointed to see how easily replaceable we are, to see my character played by someone else who is using a playback at a live show that fans can’t even record, all because he is trying to hide the fact that he is selling something fans didn’t pay for.
“And, to add something rather cheesy and petty to my statement, I will say, in Dogma’s usual mystique, but without any AI behind my words: “We were joined together in a dark ritual of music and blood, we went through sacrifices that you yet don’t know. Our voices will not be silenced, as, as far as we now talk with our cursed spirits, we will prove to you, sooner than you think, that the staves have already been drawn, the harmony is set, and the hexed melody of the coven is dying to be released”.
“Your support means the world to me. To us. I’ve read every single message, and, in all honesty, several of you had made me cry. Nothing new, though, as, since the beginning, while you admired the band from afar, I admired you back from the shadows.”
What sucks is that the shitty, predatory nature of Dogma’s management wasn’t only noticed by the band, but by prospects in Dogma’s camp. Singer Kim Jennett, who almost joined the band last year, has come forward with her own allegations and observations about what was going on.
Jennett clearly chose not to join, saying how the Dogma members were “masked, silenced, and controlled.” She actually went even further as to list and break down more of the issues she had with the situation, which you can also read in full below.
“I want to share my side of the story.
“Because I know the women involved legally may be unable to share certain aspects of their story, and I have proof of that. I’m speaking out in solidarity with them. As women in music, we’ve got to have each other’s backs and call this kind of thing out so it stops happening again.
“In 2024 I was told I’d be the new singer of Dogma. (I got through the audition and to the point of exchanging contacts before flying to South America for rehearsals)
“From day one, it was made clear this wasn’t really a band. it was a brand. A plant created and pruned by the management. I was essentially playing a role. That does not take away from how much hard work and graft it takes to be a part of a project like this. The girls would have poured their hearts souls, blood sweat and tears into it.
“You could see they all injected a part of themselves into the roles and did an incredible job of making those characters their own.
“What makes me sick about all of this is the anonymity. The women are masked, silenced, and controlled by contracts that stop them from speaking out. with legal threats hanging over them if they do and I have the proof of all this.
“The contract I was sent was one of the most insulting things I’ve seen in my 15 year career. My Lawyer said it was essentially “slave labour” and told me not to go anywhere near it. I completely understand that not everyone has access to legal advice, and I don’t blame the women who signed. They were sold a dream. manipulated with false promises and hope, into signing something that ultimately exploited them.
“People might not realise it’s not just about the awful pay, $100 a show (frankly a joke) while the managers pocket the profits from merchandise, ticket sales, and meet and greets. It’s about control. legally bound to hide behind characters and keep mouths shut. Replaceable and exploited, all disguised behind a mask of “feminism.”
“I fought it for months. Every time I pushed back, the managers came back with manipulative tactics, trying to pressure me into signing something that would have destroyed me legally, financially, and professionally. I urged them to add a section added about basic human rights which they immediately took back out. Protecting myself against things like, sexual abuse and exploitation, allowing me rights to things such as health safety and the right to terminate the contract if these things are breached. When I urged my human rights where a non negotiable they backed out.
“It is a brand that preaches “authenticity, freedom, and expression” while handing out contracts that strip those very things away.
“Even their official statement says it all:
‘Dogma is bigger than one person.’ That’s exactly it …. the musicians are treated as replaceable. Disposable.
“Sadly, in today’s industry, there are so many artists that need work out there they will likely continue with a new lineup. more women being exploited and hidden behind this mask of “mystery.”
“I’m speaking out so people can see this for what it really is. If a brand’s power relies on silence, control, and anonymity, it’s not empowerment. it’s exploitation.
Proof & What the Contract Said
“I never signed their contract. thank God. but here’s what they tried to make me agree to:
- ownership of my voice and likeness even after leaving.
‘The company retains the right to use the artist’s voice, recordings, likeness and character portrayal in perpetuity.’
“That means even if I walked away, they could keep using my image and voice to promote their brand. They could even use Al to replicate me. This they are doing to the women as I type this by using their likeness to write posts on their social media pages and models miming to their recordings.
- Total anonymity, total silence.
“The artist agrees to perform under anonymity and refrain from revealing their identity publicly.”
“Any breach of confidentiality will result in legal action.”
So the women literally can’t speak. They’re gagged. That’s why you’ll never hear the true side of how bad things got. they’re legally trapped. One of the reasons I have decided to share all of this.
- $100 per show, no ownership, no royalties.
‘Artist will receive $100 per live performance, with no entitlement to royalties or residuals.’
“That’s exploitation. No professional musician in 2025 should be paid less than minimum wage to front a brand making thousands. It even stated if I made a creative contribution to writing I would never be compensated for it.
- One sided power and threats of legal action.
‘The company reserves the right to replace the artist at any time without compensation.’
“If you refused or asked for fair terms, you’d be threatened with legal consequences.
“Allowing there coercive and manipulative treatment of the artists from start to finish.
- The illusion of empowerment.
“They used words like sisterhood, freedom, authenticity, and artistry but the fine print stripped all of that away. Behind the masks, these women had no control over what they said, wore, or earned. It’s the textbook definition of exploitation dressed up as feminism.
6.Termination
‘The Company reserves the right to terminate this agreement and replace the Artist at any time, for any reason, without prior notice or compensation. The Artist may not terminate this agreement without the prior written consent of them’
“That means they could drop the women instantly, but the women couldn’t leave. trapped unless the management allowed it.
- [sic] Legal fees
‘The Artist shall indemnify and keep indemnified the Company against all costs, claims, damages, and expenses (including reasonable legal fees) arising out of or in connection with this Agreement.’
“If anything went wrong even if it was the managements fault I would have to pay their legal fees, and when they are paying so little per show it completely traps the artist, its financial abuse and manipulation.
“Every word of this is the complete truth. I have every message, call recording, and all of the contracts to back this up.
“I’m speaking for those that can’t.
“If you care about women in music, stop supporting systems that hide behind empowerment while profiting off silence.
“I stand with Grace, Amber, and Patri, and I urge you to do the same. Think about who you’re really supporting and what kind of industry you’re helping to sustain.”
I think all of these words sum of everything much better than I can, but you go, girls!
