Stories of Destiny: Jürgen Breforth on 45 Years of Mad Max

Stories of Destiny: Jürgen Breforth on 45 Years of Mad Max

Mad Max stands as one of Germany’s most enduring melodic metal institutions, a band whose legacy stretches back to the early ’80s and continues to evolve with each new chapter. With Stories of Destiny (out now via ROAR – A Division Of Reigning Phoenix Music), founding guitarist and songwriter Jürgen Breforth celebrates forty‑five years of music, memories, lineup changes, and full‑circle moments that connect the band’s earliest days to its present incarnation.

In this expansive conversation, Jürgen opens up about the concept behind the new album, the return of original singer Andreas Baesler, the addition of powerhouse vocalist Alan Clark, and the long‑awaited dream of bringing Mad Max back to U.S. stages. He also reflects on milestone anniversaries, the emotional weight of certain songs, and the surprising rise of his heavier solo project, Breforth.

What follows is a deep dive into the past, present, and future of Mad Max — told by the man who’s been there since day one.

Stories of Destiny: A Lifetime in Songs

Is there any overall story or concept behind the title Stories of Destiny?
Absolutely. My drummer Axel Kruse came up with the title — and you have to know, Axel has been with me for forty years now. I founded Mad Max in 1981, and he joined in 1985. When he suggested Stories of Destiny, it immediately clicked.

I wanted every song on this album to tell a story from my career, spanning forty‑five years. There are songs from the very first Mad Max era, unreleased demos from 1991, and songs I wrote in the 2000s. The first single, Silver, I originally wrote for Gary Barden in the early 2000s for a project called Silver. I was convinced it would be a worldwide radio hit — but the record company situation fell apart, and the album never got the promotion it deserved.

So Stories of Destiny became a way to reclaim all these moments. Every song is connected to my history. I wrote Keep You Alive with Sasha Gerstner from Helloween. There are pieces I wrote with Michael Voss, who was Mad Max’s singer for thirty years. And one song is written by our new singer, Alan Clark, to properly introduce him to the fans.

The most emotional moment for me is the return of Andreas Baesler, my very first singer from 1981. He joins me on the Spanish version of Piece of Candy — Dulces Falsos — and on the English version we have a duet with Alan and Andreas. It feels like a full‑circle moment after forty‑five years.

Bringing Alan Clark Into the Mad Max Family

I love Alan’s work in Dark Heart, and he’s amazing in Mad Max. How did he become involved?
I love his voice too. And for me, it’s another full‑circle moment — I grew up with the New Wave of British Heavy Metal, traveling to London to see early Priest, Saxon, and Def Leppard. So having a British singer in Mad Max for the first time feels perfect.

Axel had worked with Alan on a project in England that never took off. When we needed a new singer, Axel said, “What about Alan?” I loved his voice, so we traveled to Newcastle to meet him. We talked, had beers, met his family — and that was it. No auditions. Just a handshake.

Alan really nails the songs, especially Silver, which Gary Barden originally sang. Gary’s stuff is tough — you need a great vocalist to do it justice, and Alan absolutely does.

The Return of Andreas Baesler

Andreas — where has he been all this time?
He lived in South America for many years, working for the Goethe Institute. He bought a house there and married a woman from Cuba. Shortly before we started recording Stories of Destiny, he called me and said the situation in Cuba was terrible — no work, trouble with the government — and he was coming back to Germany.

So we met, and I told him he had to be part of the new album. Everything started with him and me in 1981. We began with the duet between Alan and Andreas, and then came the idea for the Spanish version of Piece of Candy.

Two years ago, fans in Colombia and Mexico created a Mad Max comic book about my story. They connected me with Arturo Said, one of the most famous comic artists in Mexico. That led to strong ties with South America — so doing a Spanish version felt perfect.

The Bond Between Jürgen and Axel

Axel has been in the band since 1985. What makes you two work so well together?
We’re close friends. After Michael Voss left in 2018, it was just Axel and me from the classic lineup. That creates a strong bond. We’ve lived through all the ups and downs together.

Michael and I were close friends for thirty years, but the relationship broke down. He was doing a lot with Michael Schenker, and his new wife wasn’t into the Mad Max world. It was a tough time for me, trying to figure out how to continue.

Axel helped me through it. We tried two younger singers before Alan, but they had no history with Mad Max. The history is part of the DNA of the band. Fans want the stories from the ’80s. Alan, even without Mad Max history, is our age — he understands what it means to be part of a band with a long legacy.

Anniversaries: Night of White Rock and Night of Passion

The 20‑year anniversary of Night of White Rock is here. What do you think of that album now?
It’s still one of my favorites. The songwriting was great. People said we wanted to be the German Stryper, but that wasn’t the intention. There’s one song — Hope to See You — that fans still write to me about. They use it at weddings, funerals… it’s incredible.

But the record company said, “If this isn’t a mega‑success, you have to go back to your ’80s roots.” Typical business talk. So we did — more or less forced by the label.

And next year marks forty years of Night of Passion.
Yes — and for the first time ever, we will play Night of Passion in its entirety. We hope U.S. festivals will pick it up. It fits perfectly with bands like Dokken, Lynch Mob, FireHouse, Warrant. No other German band from that era is doing a full classic album like that.

Breforth: The Heavier Side

Let’s talk about your solo project, Breforth.
It’s a crazy story. When I wrote Wings of Time for Mad Max, I wrote most of the songs with Peter — he’s the singer in Breforth. We had some heavy songs left over that didn’t fit Mad Max. So we sent them to record companies under the name Rising Thunder. They said, “Great songs, but fans won’t understand why you have Mad Max and Rising Thunder.”

So I sent the same songs again — but under my own name, Breforth. Suddenly they said, “Okay, that makes sense. We buy it.”

With Breforth, I can play heavier festivals. Mad Max stays in the ’80s box. No conflict — just different worlds. And Peter is my songwriting partner there.

Dreams of America

Would you like to bring this version of Mad Max to the States?
That’s my dream. I played Rocklahoma twice in the early 2000s — it was a lifetime experience. I know it’s expensive for promoters, but if there’s even a small chance, I’m open for everything. It’s not about money. It’s about making dreams come true.

Even one festival would be amazing. We could add club shows around it. We’re ready.

Messages to the Fans

Any messages for longtime fans — or new fans discovering Mad Max?
For my old fans who’ve been with me since 1981 — I can’t thank you enough. Without you, it would have been impossible to run a band for forty‑five years. Thanks to you, I still have two record contracts — one with Mad Max and one with Breforth.

For new fans discovering us through Stories of Destiny: Mad Max has always written our own songs. These songs were written long before AI, long before mobile phones, long before the internet. They’re real stories from real decades.

You’ll find a band with its own philosophy, its own history, and forty‑five years of ups and downs. The upcoming comic — also in English — shows the whole story. And Axel and I are still here, still convincing record companies and media that this is a great band with great songs and great musicianship.

We’re willing to play anywhere on this planet. That’s a big point these days.

In Conclusion

Mad Max’s legacy is built on resilience, friendship, and a deep love for melodic metal — and Stories of Destiny captures all of it. With new music, returning voices from the past, and dreams of bringing the band back to U.S. stages, Jürgen Breforth continues to carry the flame he lit in 1981. Forty‑five years later, Mad Max remains a band with history, heart, and a story still unfolding.

(Interview by Ken Morton)

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