Simon RushworthMichael Monroe — Outerstellar (Silver Lining Records)
Explaining the genesis of anti-tech anthem Disconnected, one of Outerstellar’s myriad highlights, Michael Monroe insists nothing beats the experience of a live gig.
He’s dead right, of course.
But there are live gigs and then there are Michael Monroe’s live gigs: the brilliant, bedazzled benchmark for raucous rock and roll at its cathartic, crazy best.
Capturing the liberating, invigorating vibe that lies at the heart of the flamboyant Finn’s very best shows has always been a challenge when it comes to his studio output.
In the hazy days of peak Hanoi Rocks it was nigh impossible to replicate what fans were witnessing in the sweaty New York clubs that drew in Monroe and co. like moths to a flame.
No matter how talented the producer, engineer or mixer there was never a Rocks record that truly mirrored the main man in all his glammed-up glory.
Hence Monroe — however many albums he’s released over the years — has always been a must-see live and a meh or a maybe, at best, as a recording artist.
But somehow, after all these years, he’s finally cracked it.
Outerstellar is the embodiment of Monroe’s infectious energy with its genre fluid setlist and no rules songwriting.
The trademark glam metal, punk and pop rock pace a record that’s rooted in the best traditions of Hanoi’s early 80s glory days.
But there’s grit, a growling anger — and even grunge — grabbing an unpredictable album by the balls and refusing to let go of those famously tight, faux leather pants.
Outerstellar boasts an inner strength. Monroe has never sounded more bulletproof.
Magic Mike hits solo high
Grunge, you say?
Painless sounds like a Seattle sleeper hit revived to celebrate 35 years of Nevermind.
Lyrically and sonically it threatens to suck the life out of the normally buoyant Monroe and yet somehow it works. Remarkably.
Elsewhere the supercharged punk of Newtro Bombs is more your typical Monroe fare.Â
It’s high octane, high risk and highly entertaining — and its sounds like it’s a first-take live cut.
The trademark sax elevating seven minute-plus set closer One More Sunrise is joyous in its retro sheen.
But the best tune here?
It’s got to be the booming Black Cadillac with its compelling narrative and Steve Conte’s supreme axe work.
Monroe’s longtime sidekick was in fine form when we caught him at Call Of The Wild Festival in Lincoln last summer.
And it seems cool-as-fuck Conte’s on a roll — he’s the driving force behind Black Cadillac and retains a swaggering consistency throughout.
Four years after Monroe dropped I Live Too Fast To Die Young! he’s back with the proverbial bang.
Outerstellar’s out of this world.
