Smith/Kotzen's 'Black Light/White Noise' - Album Review

Whilst the vast majority of new music releases are, to some extent, expected - there are some that come out of the blue which few could have realistically predicted. It is assumed that an active band is likely to release something new at some point, even if it has been a while since their last album, but the formation of new bands and collaboration-type releases often come as more of a surprise - and the 2021 self-titled release from Iron Maiden's Adrian Smith and journeyman and long-time solo artist Richie Kotzen (which I reviewed here) was certainly one. Smith and Kotzen were certainly not two musicians which I ever pictured working together. On paper, they are very different. Smith has made his name in the heavy metal world, despite a few more low key and rock-orientated side projects over the years, whilst Kotzen started out as a bit of a shredder on the Shrapnel scene before morphing into more a bluesy hard rocker. There is little which seems to link the two, then, but Smith/Kotzen was an album I enjoyed quite a lot when it dropped in 2021. I cannot say that I have gone back to it all that much recently, but a few of the songs on it still stand out - and it did well enough to even get the pair on the road for a short tour. I am not sure exactly what brought the two together, as I am not familiar with the duo's history, but given that the album dropped in 2021 I do wonder whether it was something which kept them busy during the pandemic. Either way, though, I remember that the album was pretty well received when it came out - and I was disappointed to not be able to get to any of their UK shows in 2022. I had wondered if the collaboration would be a one-off, but when the duo took the material on the road I did think it would be likely that more would follow. They did release the Better Days EP later in 2021, which I did not get around to hearing, but I assume that these were likely tracks leftover from the first album's sessions. An expanded version with live recordings from the tour also followed - but a full new album still seemed fairly likely. Iron Maiden have been on the road a lot since the pandemic, so Smith has likely been tied up a lot with that, but in what I assume was a bit of a gap in the band's schedule Smith and Kotzen hooked up again to record - and their second album Black Light/White Noise was released last month. Sound-wise, this new album picks up exactly where the last one left off. Much closer in sound to Kotzen's usual approach than Smith's, Black Light/White Noise is a bluesy hard rock album with the two trading vocals throughout - whilst also delivering a number of blistering guitar solos. There is a slight grungy backdrop, with some of the songs feeling somewhat darker than average, but generally the tracks here are hard rocking and full of character - with Kotzen's aching vocal delivery perhaps slightly dominating, even though Smith holds his own. The two trade guitar licks and riffs, too, whilst Kotzen is responsible for quite a lot of the rest of the instruments heard - although Julia Lage (Vixen) plays bass guitar on half of the album; whilst some of the drumming is also handled by Bruno Valverde (Angra; Whom Gods Destroy) and Kyle Hughes.

Despite the prowess of the musicians involved, the album has a suitably raw and loose feel. It is well produced, but it does not feel too clean - with the squealing guitars and hollow drumming giving the album an old-school feel. The relatively up-tempo hard rock of opener Muddy Water showcases this nicely, with some dual lead guitars opening things up - before a barrelling riff kicks in which is full of fizz and bluesy power. Kotzen is the stronger of the two singers, but I still like Smith's voice - and when the two sing together the album feels at its most powerful. Kotzen's drawling delivery gives the album its edge, though, and he dominates the verses of the opening number despite the aforementioned riff cutting through and the drums creating a grooving base. The chorus sees the two harmonising, creating a big vocal sound - with the riff which backs it feeling a little more metallic, albeit with the album's core raw sound rooting it in the blues. The first solo spot is busy, too, with the two guitarists trading licks back and forth - with some of the speedy shredding again reaching metallic levels despite the album never really feeling like a metal release. White Noise, which follows, is somewhat similar overall - but the pace slows down to allow for a mid-paced anthemic feel to permeate. It was one of the singles which was released before the album dropped, so it is unsurprisingly one of the most overtly hooky songs here. Smith/Kotzen's songs are not always overly hooky, and can take a few listens to bed in, but this song is built around a slab-like riff and plenty of verse grooves which allow the bass playing to really pop and the sluggish drum beat to hit hard. The main riff returns for the aforementioned chorus, too, which is extremely memorable - sticking in the brain after a single listen. The vocal hooks are easy to latch onto and the song is likely to become a firm live favourite if the duo manage to tour again. It is certainly a fists-in-the-air rocker at times, despite the loose overall feel, and the solo section is another busy and lengthy affair with the duo trading leads. The other half of the album's dual title track, Black Light, is up next - and the rollocking piece picks up the pace somewhat, containing a few Thin Lizzyisms in my opinion. There are no big harmony guitar leads, but the groove of the verses and the frantic guitar pattern which backs it, alongside Smith's vocals, remind me of songs like Sha La La somewhat - and there is plenty of energy throughout, with frantic vocal back-and-forths and some additional funky bass playing. The chorus feels a little more percussive, with busier drumming and the addition of some percussion, but it is still very memorable vocally with lots of harmonies and a snappy delivery which keeps up with the overall pace of the song. This fast-paced hard rock feel is also replicated during the solo section, which features some very high-octane shredding at times - whilst also slowing things down somewhat to showcase some bluesier leads.

Darkside slows things down somewhat, and introduces a bit of a darkness to the sound of the overall album - as referenced earlier. The opening guitar melody reminds me somewhat of Steve Earle's Copperhead Road or Jon Bon Jovi's Blaze of Glory - and the track actually reminds me of the latter quite a bit, despite it not being as anthemic. If Bon Jovi was noy trying to write an anthem and instead channelled his love of Bruce Springsteen then Blaze of Glory may have sounded like Darkside - with its constant acoustic guitar presence, precise bluesy leads, and heartfelt vocals. Given that this is essentially an album by two guitarists, lots of thought has been given to the vocal arrangements throughout - and this song really showcases that. Both Smith and Kotzen feel suitably emotional here, given the song's darkness, whilst occasional slide bursts and effects-heavy guitar melodies contribute nicely to the overall vibe. The soloing is more slow-burning, too, which is fitting. Life Unchained maintains a similar slowness as it opens - with big acoustic guitar chords and aching bluesy leads setting a cinematic tone as the track slowly builds. Percussive drumming is soon added, which elevates the leads further, but just as it feels like the song is going to be a ballad a massive riff kicks in - and it becomes a pretty hard-hitting rocker. It is a mid-paced song in general despite it feeling like it is packed full of energy - with the opening and the slightly more cinematic chorus giving the song more of a dynamic feel overall. The main riffing is pretty busy, reminding me of Europe's more recent albums somewhat, but the chorus slows the pace somewhat to allow for some more percussive drumming and more overt vocal melodies. It is a pretty catchy song, then, thanks to this focus on riffing and a potent chorus - but there is still plenty of snappy hard rock within another lengthy solo section with some more high-octane shredding. Blindsided dispenses with the slow build-up of the previous song, alongside its more cinematic approach, and instead returns to a more typical hard rock approach with some amped-up country rock-esque riffing and plenty of busy bass playing from Lage. The raw mix generally allows the bass to shine throughout this album, and the verses here are filled with lots of bottom end drive - with flashy guitar leads dipping in and out as necessary. The chorus feels a bit fuller, with more of a rhythm guitar backing to limit the snappiness overall. The mix of the punchy verses and the fuller chorus is a good one, then, and the overall feel is a classic hard rock trope. It remains memorable, though, with plenty of hooks throughout. Wraith ups the heaviness somewhat, alongside returning to that slightly darker sound referenced earlier. The rawness of the production stops the track from morphing into anything more than hard rock, but there is a real punch throughout parts of the song - and Smith really comes into his own as a singer here with some snarling verse vocals. Kotzen still does his thing, but given that he tends to dominate vocally it is nice that Smith adds some real character to this one - with the more metallic edge given to the song sitting more within his wheelhouse. There are still plenty of slinky hard rock grooves, though, with a pretty smooth chorus adding some melody to what is otherwise a harder-hitting piece - and it has the shredding solos to back it up.

Heavy Weather leans into the album's blues base in a big way. There is a lot of blues on this album, but nothing has sounded quite as overtly blues up to this point as this song does. It is full of snaking grooves and fiery lead guitars - but the more deliberate pace gives the song an old-school grounding which includes a big drum presence and some prominent bass playing. The chorus does see the pace speed up somewhat, though, and move away from a bluesy sound to something more hard rocking - with hooky melodies that feel more in keeping with the album's core sound than the brash blues of the rest of the song. The mix of the two sounds works well, though, and the song is one which has grown on me quite a bit since first hearing it - with the bluesy guitar soloing oozing plenty of character, too. Outlaw returns more to the album's core sound, although there is a bit more of a smoothness present throughout. It does not do anything hugely different from many of the other songs here, but it feels as if the duo really wanted to prioritise hooks and melody this time. The rawness of the guitars has been toned down somewhat, with a lack of big riffs - with melodic leads and effects-heavy chords generally forming the backing of the piece. This allows the vocals of the duo to shine and the two tend to harmonise quite a lot throughout - with the chorus even having a slight AOR tinge thanks to the smoothness of the guitars overall and the tight vocal harmonies. The difference is not night and day, but there is certainly a bit of a sheen here which is absent elsewhere - and the fluid guitar soloing and leads tend to reflect this overall feeling, too. The album the comes to a close with the fairly lengthy Beyond the Pale, another slower piece overall with more of that aforementioned darkness. It is the only song here which truly feels like a ballad, but it remains an expansive and interesting piece - and it does not feel like a limp track following all of the rock which has come before. Instead, the song feels suitably emotional throughout, with more focus on the duo's vocal prowess, as well as plenty of room for extended soloing. Big acoustic guitars tend to fill out the background of each part of the song - whilst wah-drenched leads and the odd cutting chord bulk the track out, adding a surprising amount of weight. There is a lot going on in the mix here, which is revealed through repeated listens, and the chorus is a real earworm thanks to its emotion and a bit of the smoothness of the previous track being retained. It is the guitar playing that makes this song what it is, though, and so much time is given over to it. Little leads constantly permeate the track, but it is the core solos which really shine - with the closing one in particular being a real winner. It is the perfect way to close out the album - with the last big solo pouring out of the speakers in a controlled and emotional manner, in contrast to much of the shredding of before. As such, Black Light/White Noise is another very strong album from Smith and Kotzen - and it has taken their bluesy rock sound a little further whilst delivering a companion piece to their 2021 release. There is a lot to like here for rock fans as the riffing is top-notch throughout - but a number of strong and emotional songs help to elevate the album overall, and it likely tops the first for me.

The album was released on 4th April 2025 via BMG Rights Management (UK) Ltd. Below is the duo's promotional video for White Noise.