Members: Aaron Bruno, vocals; Eric Stenman, guitar; Zach Irons, guitar; Linden Reed, drums; David Amezcua, bass; Isaac Carpenter, drums (founding member, now in Guns N’ Roses)
The Origin: Across multiple creative circles — bands, production rooms, musical experiments, and songwriting sessions — the members of The Barbarians of California moved in parallel, simultaneously sharpening separate sonic identities as currents built and intensified toward an inevitable flashpoint.
The first phase manifested through the pairing of frontman Aaron Bruno’s punk band, Insurgence, with Eric Stenman behind the board. While their initial collaboration was transitory, the collision of their shared hardcore sensibilities resonated long after they diverged — Bruno with Hometown Hero and Under the Influence of Giants, and Stenman engineering and producing for bands including Senses Fail, Dashboard Confessional, and Deftones. Despite the distance, their creative momentum gathered strength within separate channels, set on a trajectory to converge once more.
Fast forward a few years, and the two aligned for a second time under the AWOLNATION banner. With Stenman at the helm, Bruno hammered out a sonic identity known for blending hard-edged electronics with arena-scale alternative rock. While AWOL’s music reached a global stage, a dormant undercurrent of abrasive punk mixed with metal pulsed beneath the polished synthesis — steadily growing, waiting for a resurgence.
After harboring a collection of unleashed riffs for years, the next surge occurred when Stenman shared his power chord monstrosities. The barrage of discordant motifs immediately captured Bruno’s attention and ultimately evolved into full-bore hardcore arrangements, crystallizing an aggressive sonic landscape between the two.
This energy pulled in longtime collaborators — fellow AWOL musicians Zach Irons (Irontom), Isaac Carpenter (Loudermilk/Gosling now with Guns N’ Roses), David Amezcua (Under the Influence of Giants), and Linden Reed (AWOL) — unifying the band’s collective history.
What had been a network of isolated currents transformed into The Barbarians of California, a self-contained, combustible force: louder, heavier, and more visceral than before. With the release of And Now I’m Just Gnashing My Teeth, the organically formed project became a reality, reaching critical mass, channeling years of shared creative energy into a singular explosive entity.
As The Barbarians of California continue touring and toggle from stage to studio, they offer an inside look at their creative process — a proving ground for capturing evolving, volatile energy.
The Production: When And Now I’m Just Gnashing My Teeth materialized, it was an experiment — a way to reignite a passion for a genre that had simmered beneath the surface for years. The approach was intuitive; guided by a desire to release something primal and honest, for the unfiltered soul of it all.
As Aaron Bruno recalls, the goal was straightforward: to release the material, play a proper hardcore show, and see if anyone with ears to hear would ride with them. That one show, “absolutely went off,” and the unexpected embrace of their music did more than surprise them — it inadvertently validated their conviction. What had once felt like an undercurrent became something tangible: permission to create, permission to redline the sound.
Beyond the heavy sonics and raw energy, Bruno’s lyrics cut with precision — cunning, wry, and sly — offering societal observations open to interpretation, tempered with spirited irreverent defiance.
Now, stepping into a second full release, the conviction remains — but the drive has intensified. The music is expanding in every direction: “I want it to be heavier, more brutal, and as far-reaching as artistically possible,” Bruno explains. “We have no rules… no genre to adhere to. I still don’t know if we are hardcore, metal, thrash, punk, or all of the above. Maybe it’s pop music.”
Even with this boundary pushing, the approach while recording in the studio remains minimalistic. After years in large studios with endless options, guitarist and producer Eric Stenman has embraced restraint. “I operate out of a small studio/workspace located at [his] house. Ninety-five percent of everything Barbarians (and AWOL) happens there. It’s super modest… not a lot of gear. I have an even smaller version of the same thing at my house.”
That simplicity is intentional. In a guttural punk-meets-metal band, the foundation is clear: chords, rhythm, and vocals must occupy distinct spaces while commanding sonic strength. The challenge is carving enough room in the mix so every element hits with unfettered power, clarity, and cohesion.
Anchoring the band’s aggressive sound, Isaac Carpenter and Linden Reed’s drums provide both precision and propulsion. Whether tracked in the main studio or home setups, their playing drives the riffs and chords forward, sculpting the energy and intensity while leaving clearance for vocals to hit and soar.
Layering guitars without muddiness requires skill and taste. Stenman’s longtime go-to has been a Les Paul, though he also leans into ESP/LTD tones for heavier, more metallic textures. Zach Irons brings his own dynamic; as a left-handed guitarist, his options are naturally limited. “I’m still experimenting with all of this,” Irons adds. “I recently got a vintage Carvin (Kiesel). I wanted a guitar with a full whammy bar, and now I have it.”
While the drums and guitars frame the architecture for The Barbarians’ sound, Aaron’s voice must cut through to carry the emotion. Recorded with a handheld Shure SM7 in a modest control room, vocals are often captured in three passes or less. “With Aaron,” Stenman explains, “so much of capturing his vocals is based on instinct and vibe. If something isn’t working, he’ll know very quickly and adjust course… or throw away an idea completely.”
Shaping this specific, heavily powered sound is a constant balancing act amid chaos and control. For the band, overthinking while tracking is the enemy. “Keeping things just raw enough to be exciting and chaotic in the right way is very important.” Stenman adds, “However, we also want to maintain cohesion and a level of professionalism. The bigger your drum sound, the less room there is for guitars… and vice versa. The more you edit a performance to perfection, the more you run the risk of being sterile and unexciting.”
Oscillating across polish and volatility creates a beautiful tension that defines the Barbarians of California’s work in the studio. Nothing is overdone, but nothing is careless. The band operates in a space where passion meets experience — where minimalism sharpens aggression.
What began as separate creative currents has fused into a sound with no fixed boundaries. In a band devoid of rules to obey, that paradox feels fitting. The Barbarians occupy a realm where crossover, metal, thrash, punk, or something else entirely could all serve as monikers, but that is the point. Whatever it is, it’s loud, visceral, deliberately crafted — and unapologetically their own.
Photo Courtesy: Atom Splitter PR
