It is difficult to know quite what to make of “All Lights On”, the sophomore release from Swedish sleaze metal outfit Smoking Snakes. While the band ticks the necessary genre boxes and successfully channels foundational influences like Ratt, W.A.S.P., and Mötley Crüe — even occasionally touching upon the commercial eras of Ozzy Osbourne and Judas Priest — the material falls short.
The songs suffer from a dated, unpolished execution that fails to capture the raw, electrifying energy that defined their predecessors’ heydays. Instead, the album frequently sounds like a less inspired, unrefined version of Crashdïet, bogged down by underdeveloped songwriting.
The album opens with a faux-radio introduction that closely mimics KISS’ “Detroit Rock City” before transitioning into “Don’t Touch”. While the track attempts to spark an anthemic, riotous atmosphere, it ultimately delivers a formulaic experience that provokes little more than a casual foot tap.
Similarly, “Trick or Treat” leans heavily into a Ratt-inspired groove; however, despite a moderately memorable chorus, the track barely manages to elevate itself above mediocrity.
The record finds more solid footing with “All I Need”. Embracing a simpler approach works to the band’s advantage here, offering a more earnest performance. By blending the commercial sensibilities of Judas Priest with the melodic pop appeal of Cheap Trick, the band delivers a genuinely distinct highlight.
“Look in Your Eyes” maintains this momentum with a debauched yet vulnerable vocal delivery reminiscent of Priest’s mid-tempo 1980s semi-ballads, making it a compelling listen. Unfortunately, this formulaic approach faces diminishing returns.
“Last Man Standing” attempts to replicate the magic of the previous two tracks for a third consecutive time, but a relatively uninspired chorus foils the hat trick, despite a valiant and memorable guitar solo.
The momentum stalls completely with “Screaming for More”, a strictly by-the-numbers track that fails to excite.
“Broken Heart” fares slightly better, building a solid Judas Priest-style foundation with neat melodies and a sharp solo, though its impact is ultimately dulled by a pedestrian chorus.
The album’s latter half continues to fluctuate in quality. “Nasty & Wild” plays like a B-side that would have been left on Priest’s cutting room floor, while the agonizingly slow pacing of “Turn on the Lights” feels entirely forced and tedious to get through. Fortunately, the closing track, “Pleasure & Pain”, ends the album on a relative high note. Infused with a quirky, Ozzy-esque energy and a driving tempo, it captures the genuine attitude missing elsewhere on the record, despite being bookended by another unnecessary radio-snippet outro.
Ultimately, your appreciation for “All Lights On” will depend entirely on how desperate you are for a fix of 1980s sleaze rock. While Smoking Snakes certainly have their moments, this sophomore effort remains largely unconvincing.
