The Monroes are finally back! It’s been nearly 4 years since Michael Monroe’s last studio album, ‘I Live Too Fast To Die Young’, and while the man and his longtime cohorts have toured extensively in that time, it feels like some new music is well overdue, and I, for one, have certainly been missing their brand of high-energy rock n’ roll.
Now, while I feel that aforementioned last album certainly wasn’t his best, it sure had some fine stand-out moments, and I’m glad to report that their brand-new long player, ‘Outerstellar,’ certainly outshines its predecessor and holds a few surprises for those who are expecting more of the same as before. So, without further ado, let’s dig in and see what Monroe, Yaffa, Conte, Jones & Rockfist have in store for us this time around.
Opener and first single ‘Rockin Horse’ is a punked-up, defiant middle finger to the critics and the naysayers, job done. The following ‘Shinola’ rocks to a similar beat, although sounding more instant, more euphoric. The critics will scoff and call them “generic”, but hey, this band are just getting started.
On the first listen, its third track, ‘Black Cadillac’, where things really get tasty. With cool dynamics, NYC-style gang vocals and an uber cool riff, it’s got full-on Hanoi meets Demolition 23 vibes going on, and that, my friends, is exactly what we need from Michael Monroe in 2026. A song that truly makes you take heed and get excited for what else they have in store.
And there is a 1-2-3 of killer tunes on offer to get excited about; ‘Newtro Bombs’ is a frantic blast of punk energy with a Clash-inspired chorus and a nifty little, almost dub breakdown (Sami Yaffa’s influence no doubt). Next up, ‘Disconnected’ is the big, anthemic celebration of live rock n’ roll music, and then the infectious ‘Precious’ has a sugar-coated chorus that will embed in your subconscious after the first play and refuse to leave. Add to that a schizophrenic harmonica break courtesy of the main man, and you have a winner on yer hands.
Elsewhere, the radio-friendly ‘When The Apocalypse Comes’ has that unmistakable Monroe drawl, a chorus that is pure ear candy and killer guitars from Steve Conte & Rich Jones. A word on the production here, while I remember, as the whole album sounds crisp, clear and punchy as fuck, job well done.
They do take things down a notch and get reflective with Lords vibes on ‘Painless’, and the emotive, acoustic-led ‘Glitter Dust’ nods to those quirky Hanoi ballads. Both sound like they will be growers.
Album closer ‘One More Sunrise’ is the curveball many would never expect. An epic trip of a song clocking in at over 7 and a half minutes, it’s a brave attempt to think outside the box, and you know what?… I think it actually pays off! Starting off like a ‘Nights Are So Long’ outtake, it wastes no time before kicking into a multi-part rocker that takes the listener on a Michael Monroe road trip you never knew you needed. It’s too much to take in with only a couple of listens, but let’s just say if you want an emotive sax solo, a piano breakdown with a killer chorus refrain to take you back to the glory days, then look no further. The Monroes are here to bring cinematic to those who inhabited (or still inhabit) the alleyways and sleazy bars at night, with just a bottle of Jack and a greasy eyeliner pencil for company. Insane, in a very good way.
‘Outerstellar’, the difficult 13th studio album from Michael Monroe, was apparently a labour of love, with some songs dating back to 2018, yet it sounds like it was a fucking breeze from start to finish! It feels like the band has pulled out all the stops here to prove this new album is more than just ‘another Michael Monroe record’. And I feel they have succeeded way beyond their expectations. The live energy has been captured to perfection with a top-notch production to boot. The band are at the top of their game, not only as players but as writers too, and it feels like ‘Outerstellar’ is the make-or-break album this band needed to make in 2026. Essential listening for those who like to rock like fuck!
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Author: Ben Hughes
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