Ashnikko Unleashes ‘Smoochies’: A Bold, Queer Anthem-Fueled Pop Disruption

On October 17, 2025, Ashnikko released ‘Smoochies’, her sophomore album and a bold artistic statement that redefines the boundaries of contemporary pop music. The album, featuring 15 tracks recorded across London and Los Angeles, presents a concentrated dose of Ashnikko’s signature chaos, now sharpened with a surprising focus and a clear message of queer self-actualization .

Ashnikko, known for her neon-lit feminist anthems and high-fantasy world-building, pivots on ‘Smoochies’ toward a more intimate and unapologetic exploration of identity. Whereas her previous releases, such as 2021’s "DEMIDEVIL" and 2023’s "WEEDKILLER", leaned into allegory and escapism, ‘Smoochies’ is described by Ashnikko herself as the “older sister” to her earliest, most unruly work. This time, the focus is not on constructing a fantastical universe, but on building a personal reality—one that is messy, tactile, and defiantly queer .

The album rejects the recent pop trend of minimalist production, instead embracing an aggressive maximalism. Tracks like ‘Itty Bitty’, produced by Slinger, pulse with hyperpop energy and industrial influences, demanding attention with their physicality and boldness. The sonic architecture of ‘Smoochies’ is intentionally overwhelming, mirroring the album’s thematic rejection of the sanitized “clean girl” ideal in favor of a “Smoochie Girl” persona—one that celebrates imperfection, sexual agency, and flamboyant self-expression .

Ashnikko’s lyrics remain irreverent and playful, often using absurdity as a shield against mainstream expectations. In ‘Trinkets’, she satirizes the casual dating scene by describing romantic conquests as “shiny souvenirs”, flipping the male gaze and reclaiming autonomy. The production, built on skittering hi-hats and bright, kitsch synths, is matched by visuals full of doll parts and visual clutter—a deliberate embrace of camp aesthetics and queer pop heritage .

Crucially, ‘Smoochies’ is saturated with LGBTQ+ perspectives, both in its artistic collaborators and its unapologetic themes. The track ‘Wet Like’ features Swedish artist COBRAH, whose explicit, high-octane style brings a European club sensibility to the album. Songs such as ‘I Want My Boyfriends To Kiss’ are described as hypersexual queer anthems that never feel forced or exploitative—instead, they exude a genuine celebration of queer desire and fluidity .

These tracks do not treat queerness as a marketing tool or a momentary aesthetic. For Ashnikko, sexual and gender fluidity are the very foundation of her creative output, reflecting the lived realities of many in the LGBTQ+ community. Her boldness in addressing topics such as polyamory, bisexual desire, and self-pleasure positions ‘Smoochies’ as a vital cultural artifact for queer audiences seeking both representation and affirmation in mainstream music .

The visual component of ‘Smoochies’ is equally significant. Collaborators such as Léa Esmaili have crafted videos and album art that revel in visual excess—a nod to the camp sensibilities often celebrated within LGBTQ+ culture. From bubblegum-pink palettes to chaotic, layered imagery, the album’s aesthetic choices reinforce the message of radical, messy self-acceptance .

This embrace of maximalism and absurdity aligns Ashnikko with a lineage of pop disruptors—from Peaches to Charli XCX—who have used music and performance to challenge heteronormative standards and offer alternative visions of pleasure and power.

Early reviews of ‘Smoochies’ highlight its refusal to compromise, noting both its relentless energy and its moments of exhaustion. While some critics observe that the album’s maximalist approach may overwhelm listeners at times, many argue that this very excess is its greatest strength: it mirrors the chaotic autonomy and self-determination at the core of Ashnikko’s message .

Ashnikko’s commitment to authenticity—never diluting her sexuality, gender fluidity, or radical politics—has resonated with a diverse, global fanbase. For LGBTQ+ listeners, the album’s refusal to sanitize or apologize for its content is a powerful assertion of queer joy and resilience.

The release of ‘Smoochies’ marks a significant moment in the evolution of pop music’s relationship to queer identity. In a landscape where LGBTQ+ representation is often commodified or reduced to performative allyship, Ashnikko’s work stands out for its honesty and refusal to assimilate. She has carved out space for queer narratives that are loud, messy, and unapologetic—a necessary counterpoint to the often sanitized versions of queerness presented in mainstream media .

By centering LGBTQ+ voices and experiences, Ashnikko is not only advancing her own career but also contributing to a broader cultural shift. ‘Smoochies’ is poised to become a touchstone for queer pop in the 2020s, inspiring future artists to embrace maximalism, authenticity, and radical inclusivity.

With ‘Smoochies’, Ashnikko has delivered an album that is both a personal reckoning and a public celebration. Through its unruly sound, affirming lyrics, and camp visuals, the project stands as a rallying cry for anyone refusing to be boxed in by societal expectations. It is a testament to the power of queer creativity and the ongoing transformation of pop music by LGBTQ+ artists.

As the album continues to make waves in the weeks and months ahead, it will undoubtedly fuel conversations about autonomy, representation, and the future of inclusive music culture. For now, ‘Smoochies’ invites listeners—queer and allied alike—to embrace their own chaos, and to find joy in the mess.