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For more than four decades, Gary Barden’s voice has been tied to some of the defining moments in Michael Schenker’s career, from the first MSG album through reunions, Schenkerfest and a long catalogue of music beyond. Now, at 71, Barden returns with Empowered Emotions, once again working with Michael Voss on an album that has been described as his farewell. But, as Gary tells Paulie Christine for MetalTalk, “never say never” still very much applies.

The seeds for the Empowered Emotions album began in 2023. “Michael Voss gave me 15 demo tracks of some ideas and asked if I was interested. I heard them, the rhythms, and the direction on each song. I agreed to have a go at most of them. He shared his famous words ‘take yourself into a dark room and let your mind wander.’

“I did, on my own, in the jungle with a laptop. I came up with 6/8 tracks of lyrics and melodies. Fast forward to 2025, there was no record company or interested parties.”

1980, Michael Schenker would hear Gary Barden on a demo of the band Fraser Nash and invite him to join MSG. “It was the golden opportunity,” Barden told MetalTalk. “Schenk had heard a demo going around town, and he was looking for a new singer for his new project after leaving UFO.

“After the getting-to-know-you period, we needed musicians to play his ideas. Chrysalis and Peter Mensch were in the picture as Michael had signed with them. Billy Sheehan and Denny Carmassi were flown from USA to knock a new project and band into shape. The power of these professionals was AWESOME for a country boy.”

Maybe due to the cost, this was not the lineup for the first album. “The organisation thought it best, for the album, to bring in experienced session players. So Simon Phillips and Mo Foster were brought in for the album recording.

“Roger Glover was producer, incidentally one of my heroes. We recorded the album in Wessex Studios, North London. Every track three times or so around with the boys until the thumbs up from everybody. Same studio, no changes.”

The songs on The Michael Schenker Group album were very strong. Feels Like A Good Thing and Looking Out From Nowhere were personal favourites. Lost Horizons was an epic end to the album.

“Michael and I wrote for some time on the songs that would appear on that debut album in dingy black rehearsal studios with a Sony tape recorder,” Gary says. “Michael and I on my guitar so he could try out his thoughts and me trying to come up with stuff, themes, lyrics as well.”

After the release of the album, thoughts turned to the live lineup. Paul Raymond, Chris Glen and Cozy Powell would join. “I don’t recall all the ins and outs of the live band choices,” Gary Barden says. “Paul Raymond was a trusted keyboard/guitarist Michael had been working with. Cozy and Chris were a powerhouse backing section for the band. These were fantastic choices for the time to tour the album.

“My favourite story of the ‘union’ is travelling in a cramped English car with Coxy, Chris and Paul up the M1 to do the Scottish gigs. They asked me if I had brought my passport with me. I said I had not.”

Do you know that we are going to another foreign country was the question posed in the car.

“I shit myself,” Barden laughed. “I thought about going back to London.”

There was a moment’s pause before the car erupted with laughter. “I was green as grass,” Barden said. “It must have been tattooed on me.. I was the baby of the band, as named by the ‘Union’.”

The second album, MSG, found the band firing on all cylinders. Produced by Ron Nevison, it still sounds killer. But I Want More, Never Trust A Stranger, and Looking For Love were songs that stood out on a powerful Side B. On And On was played on American Radio.

“All I will say is it took six months to record,” Barden said. “The cause, you figure out. I’m not getting into that one. One of the most expensive rock albums made at that time.”

It has been written that at this point, Barden was asked to leave MSG. “Yes, Paul Raymond and I were asked to leave,” he says. “The amazing cost the record company had to pay for the album needed to be recuperated [laughs]. Strictly business. Some bright spark suggested getting a name singer in for the next album and tours.”

At this time, Gary Garden was living in Hampstead in London, when a chance meeting with Gary Moore led to the pair working on demos for the Corridors of Power album.

“We bumped into each other at the supermarket, and at a coffee cafe called the Coffee Cup, which I lived over,” Barden said. “We got chatting. He was in a deal with Virgin Records and had access to a recording studio on a barge in Maida Vale. I went down, and we recorded Don’t Take Me For A Loser. Just me and the backing track. It was not meant to be. Virgin wanted Mr Moore’s complete package. Just himself.”

Don’t Take Me For A Loser is available at YouTube here, https://www.youtube.com/watch?v=XoCtAu2V_9U, having been blocked by the user.

Gary Barden would then form Statetrooper, and there were some pretty great songs on their debut album. “Statetrooper was of course my baby,” he said. “After leaving Michael, I took about six months to reevaluate my position in the music business. I needed a band. I found two brothers in Yorkshire, Steve and Paul “Fasker” Johnson. I was amazed at their skills as musicians and songwriters.

“We put down some demos to get a record deal, which can be found on YouTube. There were no deals available. I saw a band called Wildfire who had all the ingredients I wanted. That turned into Statetrooper Mk II.

“If you listen to the tempo of the Troops in Armed And Ready, the adrenaline, that’s my snappy speed in me. Either that or Bruce the drummer was on something,” Gary laughs.

After Graham Bonnet was fired from MSG, Barden would find himself back in the band. It was quite a shock to fans when they played Reading to see Gary out front, and MSG sounded great that day. I did love the “Hey Reading, Surprise Surprise.”

Gary was on the video for Dancer. To me, the chorus sounds like it’s both him and Graham singing. “Rob Cooksley, Michael Schenker’s tour manager, came to my house in Hampstead and begged me to do the up-and-coming Reading Festival,” Gary says. “Mr Bonnet had left the building. Everyone knows the occasion. I got the hard luck story.

“He asked if I would do it and also asked for a price. I had no manager, no agency. There was nothing for me. I asked a reasonable fee. Blood drains from his face. I took half. The kinda guy I am? Stupid.

“Yes, after the Reading gig I was reinstated for MSG. Assault Attack had to be promoted. I did the overdubs on the videos Dancer and Desert Song, with Graham’s backing vocals for the coming tours.”

Built To Destroy would follow in 1983, and another lineup change with Andy Nye on keyboards. A UK version produced by Louis Austin was made, with a US version remixed by Jack Douglas. Derek St. Holmes would provide vocals on the American Remix of Still Love That Little Devil.

Top to bottom, this was a great album. Red Sky is a standout, with The Dogs Of War and the ballad Rock Will Never Die (Walk the Stage); these three songs should be on any MSG setlist.

“There was no producer and no money from the record company,” Gary says. We were literally left alone on Ridge Farm Studios to make an album on our own. The songs were working, but, yes, the UK version was very dry. The record company decided on a few more quid to put some Jack Douglas American fairy dust on it. It worked in a certain way.”

Once the Built To Destroy tour was over, Barden would work with Praying Mantis. “Praying Mantis, formerly known as Spraying Mattress,” Barden smiles. “A little Tino joke. It was only one album, one I’m very proud of.

“To The Power Of Ten was hard work. I was doing a 9-to-5, then train to Waterloo, back to the job. Repeat. My dad also had cancer at the time. It was physically and emotionally tiring. It took its toll on me as a person. I wrote two more songs for them for the next album. Tony O’Hara sang my lyrics, and we parted. A great band that I respect.”

Barden would then work with Michael Voss. I have been a fan since the first Silver album. Christine is a song I constantly play all the time.

“I was in Hawaii with my wife Suchi and six-month-old daughter Chimara for a holiday break,” Gary says. “We had a fax machine [laughs]. Herr Voss tracked me down, suggesting doing an album, and that’s when it started.

“It was a pleasure and a privilege to be asked, and you’ve heard the results. My favourites? Christine, Bother Kill Brother, She Came. So many. Vossy caught my voice and feelings. We never toured. I’ve got some ideas up my sleeve for live work if Empowered Emotions takes off.”

Gary Barden would release five solo albums prior to this year’s Empowered Emotions. The first, Past & Present, was a great interpretation of MSG songs. Marco on drums was killer.

“My solo albums were a great release for me,” Gary says. “Vossy’s idea for Past & Present was an eye-opening change for me. As we know, it opened the door to the others.”

Barden would appear on the 30th anniversary MSG Show, finally playing with Simon Phillips and Neil Murray. Simon told me there was to be a 40th anniversary that would have been a full world tour, but COVID killed that.

“On the 30th anniversary gig in Japan, I’m proud to say, as my own critique, I’m in good voice. I had a cold, but this was a very special gig. The band played terrifically.

“There were a couple of rehearsals in LA, then it was into the fire. Simon is a powerhouse. You feel the punch in your back. Neil Murray and Wayne Findlay fill the Schenker sounds admirably. I’m very proud of capturing the songs. But, yes. COVID-19.”

Fans would also get to enjoy Schenkerfest, which was fantastic for us. 

How was travelling with all those personalities? “I hear this also,” Gary says. “It was like a Boy Scouts outing for us [laughs]. The respect each of us had and we gave to each other was heartwarming. We supported each other as well, harmonies on stage the full three hours or so. No hiding in the dressing room. Great vibe, and great guys with nothing to prove.”

Released on 18 September 2026, Empowered Emotions would find Bardn working again with Michael Voss. Voss said this would be Gary’s farewell album to us fans. For me, there is still a great tone in his voice.

I wondered if Gary has been bitten by the bug of new music. Could there be some live shows? For fans who have followed Barden over the years, many, like me, would thank him for all the music that will be with us forever.

“How many never say never,” Gary laughs. “How many have we been subjected to? I’m not a bullshit artist. This was a thank you for everything I got from my fans and friends. Because I’m an old git now, with the aches and pains they get at 71.

“I thought with Vossy’s energy I could do it. But, even now, a storm is brewing inside me. If Empowered Emotions sells well and the Gods allow, a final live show would be the icing on the career of that fucking cake called Gary John Barden.

“I put the John into my name on my solo albums in honour of my father, who died at 63 years old. Loved ya, Dad. Thank you for your strength, even now.

“We finally sent two tracks to Frontier’s Music in Italy, and they actually liked them. They offered us a record deal to go ahead on the album. Michael and I wish to thank Frontier’s Records, Marco and the whole team for putting their trust in us.

“For putting their trust in us to complete the journey and to finally give the fans and friends new music to listen to.”

Empowered Emotions opens on Bardens Overture, a 23-second ditty that has MSG tones all over it. Maasai Enkai follows, a song about the Native Americans’ plight. There is a killer solo by Tommy Denander. Gary’s vocals are not the high vocals of the ’80s, but there is a head bob to this track.

Long-time Barden fans will be interested in the single Hit The Ground Running. It’s led by Voss, and it links to prior Michael Schenker albums, as his tone and style are very Schenkerish. The title track features Don Airey, and there is a very AOR feel here. Burning Wind is one of my favourites. A true rocker.

Barden history is at the fore, and a real treat for MSG fans finds Schenker playing lead on Dark Waters. My only complaint? This song should be longer!

Ride Horseman Ride is another of my favourites. There is powerful guitar work from Voss, making this a heavy rotation on my playlist.

This Phoenix’s Gonna Burn’s rhythm guitar work is very reminiscent of Jessie’s Girl by Rick Springfield, which brought a smile to my face. It actually works in the structure of the song, with some fancy tap work from Vossy.

It is the closing pair that brings the emotions to the fore. Brian Tichy drums on Walk Away, and I have to say that I love Gary when he’s feeling the songs. Like Never Trust A Stranger or Walk The Stage, he brings these emotions to this song. I actually played this song several times and was caught in the moment every time. 

We’ll Meet Again closes Empowered Emotions. Is this Gary Barden’s farewell to us? Heartfelt and sincere, there is nice acoustic guitar from Michael Voss.

Is this a fan’s album? Maybe, and We’ll Meet Again closes the Barden story in some style. Will it be Gary’s Final album? Vossy says it is. Gary says Never Say Never.

I am going to hold Gary Barden to that. If there is to be that one final show, that one final farewell and thank you, then at 71 and with that career, you know there would be plenty interested in this.

Clutch release their latest album ‘Wasted Lands’ on January 22 via their own label Weathermaker Music. Blair Dunlop will release his sixth studio album, ’What Still Survives’, on October 30 via Navigator Records. Fearless V’s debut album, ‘Circus Life’, is set … Continue reading →

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Album Review: Sorcery – The Immaculate Sin

Reviewed by Sam Jones

Sorcery are possibly one of Sweden’s most criminally underrated and longest running bands in its myriad of death metal. Formed back in 1986 out of Gavleborg, the band’s earliest years saw their first Demos before they began working on their debut 1991 full length: Bloodchilling Tales. For years, other than one other Demo following this release, this was Sorcery’s sole album due to their break up in 1997. But 2009 finally saw Sorcery’s revival and since then the band have enjoyed relative stability and a slew of full length works: 2013’s Arrival At Six, 2016’s Garden Of Bones and 2019’s Necessary Excess Of Violence. It’s been seven years since that latter record but finally we have a new opus on the horizon: The Immaculate Sin is scheduled for an October 1st release window and like every album they’ve put out since their revival Xtreem Music will take distributing responsibilities for it. When I discovered Sorcery I was amazed at how good their music was, how they seemed to go from strength to strength with each succeeding release and I am ecstatic to finally see a new Sorcery album. Let’s see what the Swedes have this time.

The band demonstrate their Swedish calibre with a guitar tone not wholly buzzsaw but absolutely treading that path. It’s as if the band threw down every wall that could contain their sound to let their riffs flow, unending, from one end of their record to the next. The result is your inability to escape nor hide from the riffs or tone as even if a chord isn’t being played, the resonance uttered after the said chord is going to linger, and continue lingering, until the next sequence of a song comes into play. It certainly capitalises on the macabre, murderous vibe The Immaculate Sin purports for numerous licks and intricate bridging pieces bolster this horror-laden atmosphere. In addition, the guitar likely doesn’t need to be played all too quickly to establish their sound as something ripping, but to feel the speed they’re adept with, that unending, cyclonic maelstrom, it really drives home just how eviscerating their tone feels herein.

It’s nice to hear vocals on such a Swedish death metal record and acknowledge your following along to the lyrics. Many cases where such a tone is implemented it can drown the rest of the songwriting and vocals out, which is why listening closely to the lyrics feels such a treat. Ola Malmström may be in his mid fifties now but listening to his vocals, the way he’s able to place emphasis in certain syllables, control over his timbre, you’d think he were a man twenty years younger. His stellar command of his delivery places him at the forefront of the band’s performance as it’s difficult to separate one from the other. Just alleviating the production that small amount to give us a window into the lyrical progression means a lot as people will go that little deeper into Sorcery’s world of hellfire.

I appreciate Sorcery for not willing to outpace their audience’s capacity to absorb their performance. By this I specifically refer to their tempo and how their songwriting features enough to justify the track length and pace they’re putting out. Whilst there are instances of blast beats and more intense flurries of blitzing musicianship, the crux of Sorcery’s performance is upheld by steady, keenly controlled direction that will jog alongside you whilst never running so far ahead you’ll always feel behind. Therefore as a song ends you’ll feel deeply satisfied that you received the vast majority of entertainment and quality during that first listen, but since you recognise it’s of a grand quality it’ll make repeat listens that more likely.

Something I noticed with The Immaculate Sin is while the band play with speed exceedingly well, it’s when they bunch their riffs together in successive, hammering attack that their tone morphs from that buzzsaw variant and into something meteoric, something with tenfold mass behind its impact. Now this alteration to their general songwriting isn’t overtly prevalent, you know what you’re getting with a Sorcery record, yet it’s nice to know they’re applying some variety into their sound. It’s like after a while they’ll forgo their blades and knives and opt to simply punch the life out of you because they feel slicing and stabbing alone aren’t enough.

In conclusion, it’s another home run for Sorcery as their fifth full length comes to its end. Hideously underrated and consistently competent, Sorcery prove why they’re still in the game and amongst the pantheon of Swedish extreme metal for whilst their sound is clearly reminiscent of their contemporaries, there’s more than enough occurring and present within to give them not only their own identity but a record that easily stands on its own qualities. With satisfying songwriting, plenty of variety, a record that not only sounds but feels great to experience, The Immaculate Sin is a roaring and breathless ride from start to finish that never lets up on you. A thoroughly great time is ahead of you.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

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Album Review: Eshtadur – In Darkness All Shadows Gone

Reviewed by Oli Gonzalez

The world of metal brings you to some interesting places. When you think of extreme metal, the normal hotbeds of the USA, Germany, Sweden, the UK and Norway come to mind. Though today, we’re taking a journey – in our minds – to the darkest depths of Columbia, the South American nation which Eshtadur calls home! Having built an impressive resume of supporting the likes of Behemoth, Vader, and Deicide, as well as having boarded the boat for 70000 Tons Of Metal, this list isn’t to be overlooked. So, what can we expect from their latest opus “In Darkness All Shadows Gone”?

We’re greeted with a rather cinematic opening, resembling the background music to a horror movie, when the protagonists have ventured into an abandoned tomb or somewhere they really shouldn’t be! Such is the austere intimidating atmosphere of the music! Just a haunting classical guitar and terrifying ominous chants; enough to make a grown man cower. Then, we’re into the nuts and bolts of the album!

‘Into The Woods’ introduces us to the melodic death metal spine of their sound, especially with those warm overdriven guitar tones and overall pace providing a likening to At The Gates. Whereas the symphonic edge is subtle, it dominates the mix in ‘Umbra’, making the band’s comparisons to Septic Flesh and Old Man’s Child seemingly more accurate. Though one thing is clear; Eshtadur simply don’t have the production resources those titans have. As a result, the mix feels a bit rough and lacking the killer sharpened edge.

Perhaps getting the symphonic orchestral edge isn’t the band’s forte. Instead, the band excels with their capacity to shred! Much like their South American counterparts Krisiun, Eshtadur feel at their strongest when they revert to the tried and tested formula of solid riffs played with plenty of attitude and a mastery of the guitar tones. The blazing lead solo in ‘Fire Above Mountain Below’ sums this up.

The band lean more into a black metal theme with ‘Old Shaman Blind’, especially in the opening, when the drums, bass and vocals seemingly disappear to give the axe all the room it needs to fully shine! Before reverting back into the Gothenburg style guitar riff factory here and in ‘Thunderground’.

As the album progresses, you want to find reasons to like the band and get behind them. Sadly though, the production values begin to really let the band down and really are not getting the best out of this talented bunch of individuals. They have a supremely talented drummer in Juan Lopez, but it feels like his skills get lost in the mix and which you seldom see cutting through. When it’s time for ‘A Black Wing Waltz’, a 9 minute song at this stage feels like a huge commitment. This and the final 3 songs aren’t really offering what we haven’t heard before in this album either.

A brave effort from a talented group, but Eshtadur may benefit from throwing all their eggs in one basket on the next album and producing maybe 6-7 high quality songs with sharp production values rather than stretching themselves too thin creatively across 12.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

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Album Review: Brymir – What We Leave Behind

Reviewed by Oli Gonzalez

On October 2nd, two Scandinavian melodic death metal bands with Viking and Norse themes engraved into their music will release new albums. One very much at the peak of their career, having played every festival worth playing and selling millions of records worldwide. Of course, we’re talking about Amon Amarth. The other may not get the headlines on this day, but sure as hell deserve just as much praise.

The band in question, Brymir. Not a band many will know, as a discography of 4 albums seems fairly light. Then again, Napalm Records don’t sign nobodies! “What We Leave Behind” will be the fifth and ‘most sinister yet’ in the words of the band. Curiosity is now at its peak.

Maybe not quite sinister in the same way a black metal band like 1349 or Emperor would be (well more on that later). Though there’s something very exciting about Brymir’s sound! See, there’s a solid melodic death metal spine running through the early stages of the album, especially during ‘Sleipner’, achieved through the sharp yet aesthetically pleasing guitar riffs driving the sound. There’s a subtle symphonic edge too, with the synths and choir like backing vocals adding an epic feel to the mix. Though they take that epic feeling and up the ante several notches in ‘Tempest Bound’!

“Marching, banners high For Ares,
Tyr or Mars
Like children on an isle
As all true deities cry”

Listen to that chorus on full volume and see how quickly you want to grab your shield and sword, and dive straight into battle! The verses are just as impactful too! Then it’s just an all out frenzy for the album’s title track ‘What We Leave Behind’. What a blistering lead guitar solo, and stunning chorus that will have strangers singing together in unison in arenas! Though the distorted guitars can provide plenty of bite when called upon!

See, there’s an underlying cinematic edge to the album. It’s almost as if there’s a guy in the band who works in the cinema industry as a sound designer…OH WELL there is! Whilst this is his day job, Viktor takes the lead vocal role by night for the band, and uses every ounce of his industry knowledge to give Brymir an almost unparalleled advantage.

Now, Brymir are far from a one trick pony. They can flex their black metal muscles, and shift the focus to becoming abrasive, dissonant, and sheer terror-inducing in songs like ‘True Darkness’ and ‘Buried Legion’! Think Emperor, especially with the underlying symphonic edge. This also gives an opportunity for Joona to show off his guitar skills…and he has every right to! Now their claims of this being their most sinister album starts to make more sense!

With such high intensity output, it’s easy to become fatigued and overstimulated. That’s why the clever deployment of a few ‘breather’ songs like ‘Thy Self The Highest Love’ and the aptly named ‘Moment Of Silence’ are essentially low stimulus instrumentals to give you that much needed time for reflection and opportunity to process everything that’s just bombarded your senses. After all, sometimes what a band DOESN’T play is just as important as what they do play. As paradoxical as that sounds. ‘The Roaring King’ also plays into that theme of low stimulation and whilst the full band return here, this is by far the slowest song on the album. Yep, Brymir understands human psychology!

Now the final song. We have a full blown power metal anthem ‘How Much Is The Fish?’’, a Fintroll or Korkiplannin style rawkus drunken tavern dance along to end the album! Hang on… it’s a Scooter cover?! Shows what I know! Well, I’m not normally into covers but if you can take an internationally renowned powerhouse of a Eurotrance artist, take their song and completely reimagine it your own unique style, then cover as many as you want!

Well, that was a journey! A multilayered complex package and a fully guided tour around several sub genres of metal that should be at opposition with one another, yet somehow gets melted into one easily digestible and thoroughly enjoyable package! This is easily in my top 10 metal albums of the year! Hopefully “What We Leave Behind” doesn’t get left in the shadows of Nordic giants Amon Amarth on October 2nd…

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

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