I have been a fan of Ashnikko’s music since my middle school days. My 8th-grade self, a good girl turned self-proclaimed rebel after being trapped in her house during the prolonged coronavirus pandemic, needed a singer to represent her female aggression and manic behavior. I found exactly that in Ashnikko. Ever since becoming a fan, I have witnessed Ashnikko grow, just as I have. Though her lyricism is still as strong as ever, she explores deeper and more complex themes in her newer songs. I first noticed this shift in her 2023 album, Weedkiller, one of my all-time favorites, where she dives into the topics of queer identity, sexual empowerment, and ecological collapse. Along with her musical journey, Ashnikko tends to fall into characters, playing a new part with each album’s release. She continues both of these trends with her sophomore album, Smoochies.
Before deep diving into the album, my initial reaction was that while it maintained Ashnikko’s tendency to combine multiple genres, it leaned more heavily toward dance and EDM styles of music. It seemed very upbeat and in your face, leaving no room for mistaking Ashnikko’s tone. The album incorporated experimental avenues to express the concrete messages of Ashnikko’s brand. From my very first listen, I knew it would be an album I would keep on repeat, much like all of her other works.
Smoochie Girl: The title track is nothing short of catchy. In the middle of the song, I was already singing along to the chorus, loving the way Ashnikko’s voice rises when she sings, “In the heat of the moment.” The song depicts something almost everyone has experienced: falling for somebody again after getting your heart broken. Of course, Ashnikko illustrates these feelings in graphic and clever scenarios, such as wanting to remove her IUD and being still vulnerable while wearing a hazmat suit. Once again, Ashnikko has won me over with their memorable beats and unique lyrics describing something I can heavily relate to.
Liquid: “Liquid” immediately draws me in with its heavy and intense beat drops at the beginning of the song. From there, Ashnikko shows her undying and somewhat unhinged attraction to their muse, wanting to “wear his skin” and be cellularly united. Her references quickly become pornographic, showcasing the freedom she feels from expressing her sexuality. My favorite part definitely would be in the chorus when they sing, “Adopt a kitten, fuck me roughly and then treat me soft.” Ashnikko admits the insanity love brings her to, while mentioning how her lover has noticed it too. This obsessed lunacy is precisely what sets them apart from other artists who are sharing similar topics.
Trinkets: As the song starts, I immediately recognize it and begin to start singing along. Like the majority of Ashnikko’s pieces, the chorus offers a catchy tune that is easy to remember and compels you to join in. While “Trinkets” maintains the album’s portrayal of profound love so far, it also challenges traditional, gendered stereotypes. Ashnikko acts as the “man” in the relationship, objectifying her partner as a “trinket” or “keepsake.” They lead their intimacy, being the one to put their hand on his thigh, instead of vice versa. The way she spins and clearly dismisses dated romantic practices speaks to her grander beliefs.
Chichinya: For this song, I had to do a bit of background research since I was unsure what the word “chichinya” meant. After doing a basic Google search and finding nothing of note, I went down a Reddit rabbit hole, where I eventually stumbled upon a live performance of Ashnikko performing this piece. In the video, she briefly explains its meaning and says that “chichinya” is what she calls her dog when it’s behaving badly. With this preface, I can more confidently declare that this song takes a turn from the ones before it on the album. The lyrics maintain Ashnikko’s sometimes off-putting techniques to display their strong emotions, but this time, instead of love, they are feeling vengeful and aggressive. Clearly, the man she is singing to has wronged her in some capacity, and she is condemning his actions by graphically detailing how she wants to “rip out his eyeballs and put them on a necklace” and stab him in the ribcage. However, they accomplish this violence in a way that is playful and seductive, leaning into men’s stereotypical nature of being swayed through sexual coercion. Ashnikko continues her pattern of using almost humorous similes, talking about how she “shaved her toes for him” and then compares them to the hairiness of “a Hobbit.” As I was dissecting the song, I gained more appreciation for it than when I originally listened to it. I admire how it shows Ashnikko’s persistent personality, but on the opposite side of the emotional spectrum. If I were to choose words to classify their demeanor during this song, I would pick “hateful infatuation,” which is hard to properly represent.
Skin Cleared: Randomly enough, the very beginning of this song immediately reminds me of Rihanna’s “Woo.” If you listen to both of their starts, they slightly mirror each other with the beat changes and the artist’s pronunciation and carrying of the vowel “O.” Besides that observation, this piece is the epitome of a better-after-the-breakup anthem. The whole song brings up a plethora of reasons why Ashnikko is better after breaking up with their ex, such as their “skin clearing up”, no longer “getting the flu”, and “no longer getting paranoid.” It embodies self-assurance after battling the aftermath of a failed romance. It once again brings in aspects of sexual pleasure, fun-loving excursions, and hedonistic cores, cementing Ashnikko’s brand and her album’s vibe. I can 100% see myself blasting this song in the car whenever I need some hype music.
Microplastics: Instead of obsessing over a lover in a romantic sense, “Microplastics” depicts Ashnikko’s yearning for her carnal desires to be fulfilled. I was giggling and smirking at some of the lyrics they provide us with in this song. Such phrases would be “clitorisk it, bitch” and “Just yesterday, I almost crashed my car going eighty on the highway, Thinking of your big eyes, uh, looking up between my legs.” Personally, I am a sucker for an enjoyable piece about copulation, mainly because I love the concept of free love and sexual empowerment. I also relish that I know how uncomfortable works, like Ashnikko’s, can make close-minded and prudish individuals. So far, I have discovered that not only can Ashnikko produce a top-tier song that will get stuck in your head and cause you to keep it on repeat, but she also knows how to stick to an enthralling pattern. This talent makes the album feel like a cohesive unit rather than a collage of incongruity.
Full Frontal: “Full Frontal” was nothing like I was expecting. From the title alone, I assumed it was about full frontal nudity, such that is found in R-rated movies with no sexual filtering. But of course, in her typical fashion, Ashnikko lures the listener in before performing a complete 180 on them. Instead, the song centers around Ashnikko wishing to turn their brain off, using the term “full frontal” to illustrate injecting Botox and lobotomizing the frontal lobe of their mind. The name of the piece is not its only sexual innuendo. Throughout the remainder of the work, Ashnikko makes other references to the original preconception of the song, singing, “Sit on the DJ’s face, I feel the beat through my puss.” I once again applaud Ashnikko for being so ingenious and creating an idea I never would have considered myself.
She’s So Pretty: This song is so short, spanning not even two minutes, that it leaves me wanting more. Since the beginning of her career, in pieces such as “No Brainer” and “Slumber Party,” Ashnikko has always hinted at her queerness and love for women. This work is no exception, leaving me with one of my favorite of Ashnikko’s lyrics: “Own me, for you I’m a slut, like.” Maybe there’s something wrong with me, but hearing them sing that sentence and knowing that it’s referring to a woman and not a man brings a warmth to my heart. One of the first aspects I noticed upon listening to “She’s So Pretty” is the difference in the backbeat compared to the songs that came before it. While it continues to match the theme of the album, it is framed more as an airy love song. The ability to capture this specific type of song while maintaining the in-your-face vibe of “Smoochies” is a feat not many outside of Ashnikko can accomplish.
Wet Like (feat. COBRAH): This track is the only one off the album that has a featured artist, something I find interesting. After conducting some preliminary research, I discovered that COBRAH, a Swedish singer, songwriter, and producer, shares a similar aesthetic with Ashnikko (I think I may have stumbled upon a new artist to listen to). COBRAH also specializes in tech house music, making her an ideal person for Ashnikko to collaborate with on “Smoochies.” As I have stated previously, “Smoochies” radiates with inspirations from tech house and dance music, and EDM, once again showcasing Ashnikko’s brilliance in including COBRAH’s expertise. At the beginning of the track, too, you can hear a conversation happening between the two of them, adding another example of their coordination. “Wet Like” is the personification of femdom and dominatrix, filled to the brim with graphic sexual scenarios. The chorus is simple, with the words “Wet Like” being repeated until finally the phrase “Wet Like Me” is sung and then said again backwards. While the piece may be described as overly visual to some, in the end, it is a fun work that halts any confusion over Ashnikko’s expressive sexuality.
I Want My Boyfriends to Kiss: I couldn’t help but giggle while listening to this song. The title pretty much gives it all away. The entirety of the track is about Ashnikko wanting their boyfriends to kiss one another. It is an entertaining work, teasing and contradicting society’s take on monogamy. Ashnikko points out how ugly jealousy is and how the simple solution would be for people to just kiss each other. This same message is conveyed in the outro of “I Want My Boyfriends to Kiss” when she makes a joke about there being “Adam, Eve, and Steve” in the Bible and how ludicrous it is that everybody is not kissing one another, since that would solve so many complicated problems. I also wish to believe that this song is a commentary on the popularity of the fetishization of gay male relationships. In the recent past, typically only lesbians were sexualized by the male gaze, but Ashnikko spins this narrative, yearning to see their boyfriends make out instead.
Sticky Fingers: From its very start, “Sticky Fingers” is an empowering anthem that immediately makes the listener sing and dance along to its infectious chorus, beat, and lyrics. This song is about Ashnikko wanting all these boys to leave her alone. While she may look good and these guys daydream about her, she wants nothing to do with them, knowing her worth and priorities. They consistently ridicule these men by mentioning their “hot Cheeto dust”-covered hands and their “illiteracy.” In the track, she refers back to her song “Trinkets” by singing, “Ashnikko catch some boyfriend trinkets.” I especially love how not only do they hate these boys, but also despise them to such a severe degree that they classify them as “personal hell.” As I am getting to the conclusion of “Smoochies,” I can say with confidence that this piece is by far one of my favorites off the album.
Lip Smacker: Before taking a peek at the lyrics, throughout the song, Ashnikko sings “Hey-ho-ha,” which I had always assumed was “Hey, Papa.” In a very Ashnikko fashion, I had guessed that it was a sexual reference, pulling from daddy kink nicknames. This discovery definitely brought a different tone to the piece, but the sexual overtones still ring unbelievably true. What is interesting about this track is that there is not a large shift in the lyricism. Essentially, the same lyrics are repeated multiple times, making it unclear where the chorus lies. However, unlike what some may believe, this element only makes the song’s likability stronger and more individual. From my comprehension of the tune, Ashnikko is singing about the “need to come undone” and specifically centers on attributes of the vagina and the pleasurable activities women partake in. To intensify the sensuality of the song, Ashnikko’s voice is soft but direct, mirroring that of a prostitute who is deceiving her client into thinking he is the one in control. To add to this categorization, some of the lyrics that go along with this theme and really stick out to me are: “Bush feel like mink,” “Flick the bean, English breakfast,” and “Pussy tree hugger, no more war.” Once again, Ashnikko has used their artistry to convey a timeless message, but in playful and original wording.
Itty Bitty: This song greatly reminds me of ideal club music. If I heard “Itty Bitty” by Ashnikko at a rave, I think all of my problems would be solved, and life would be so good. This piece is a testament to just having a great time, looking hot while doing it, and not caring what anybody else thinks about it. It’s easier said than done, but Ashnikko gives me faith that it may be attainable. In the background of the track, there is an inkling that Ashnikko is letting loose because of her breakup with the lyrics revealing, “Me and my girlfriend just broke up” and “I like to put it on every time my heart hurt”. From this perspective, while the tune is still fun-loving, it shows a deeper meaning that Ashnikko is using these forms of entertainment and rebellion as distractions from their sadness over losing their significant other. She implies wanting to find someone new and to move forward with her life, showing her growth and healing process. But of course, these sentiments are conveyed in a very Asnikko-esque way, with them singing, “I wanna fall for someone new, Fuck in the bathroom, super cute.” I think this song is the reason why I have now gone out and bought so many “itty bitty, teeny tiny, little slutty” skirts.
Baby Teeth: I know I keep uttering this same sentiment, but this song is one of my favorites off the album. When listening to Smoochies in chronological order, towards the end, it starts to drift in a different direction, unveiling a more personal side of Ashnikko. Despite its upbeat nature, “Itty Bitty” is a good segue into a more depressive trend of Ashnikko’s music. While all of the tracks are still beyond incredible and you will hear them blasting from my car speakers, they deal with sensitive topics more intimately. In “Baby Teeth,” Ashnikko relives how they had to cut off a former lover and how, nevertheless, they made the decision, and it was the right one, but its impact is still lasting. Maybe it’s because of my own experiences, or maybe it’s because of Ashnikko’s talent, but this tune also makes me a little emotional. I especially love how, instead of using any sort of cliche or overused analogy, she compares it to “tying a string to the door” and having her “baby teeth fall out.” I like to think that this simile (in the song, she uses “like,” so just trust me, guys) also implies how Ashnikko is growing up and coming into herself, realizing the negatives of old habits and toxic people.
It Girl: Once again, I love this song, but it is a standalone amongst the remainder of the album. While the rest of Smoochies mainly focuses on relationship dynamics, this track revolves around Ashnikko’s self and their identity. “It Girl” talks about how society pressures women into looking a certain way and conforming to impractical beauty standards. In response to these normalized atrocities, Ashnikko sings about how she wants to “kill the it girl” in her “before she kills me.” They are frustrated by how the coercions of popular trends have affected how they view themselves and how they are perceived by others. Along with this component, she is also criticizing herself for falling victim to societal notions of who she should be and what she should do with her body. As a young woman growing up in a time when this concept is still prevalent and actively affecting the females of my generation, I relate to this piece more than I would like to admit. I really appreciate how Ashnikko can make relatable tracks, such as this one, that let her fans know that they are not alone and that she is just as much human as they are.
To briefly sum up my concluding perspective of Smoochies, I love this album, and it has quickly become not only one of my favorites from Ashnikko, but also one of my favorites overall. This album review has made me love it even more, and now it is my go-to whenever I don’t know what to listen to. All I have to do is click shuffle and know I’ll be met with some of the best music I have heard in a long time. After doing some brief research too, I’m heavily considering buying tickets to her upcoming concert at Moody Theater in April. If so, look forward to seeing another Ashnikko piece from me! In all seriousness, though, this album is top-tier and has made me revisit a younger version of myself, who loved Ashnikko and had no cares in the world. It always warms my heart whenever an artist can stay true to themselves while exploring the reaches and lengths of their skills. I think time and time again, Ashnikko has proved herself to be one of the few singers who can accomplish this feat. I cannot wait to see where they go because, as it has been determined, I will always be one of their fans.