Two albums in (and three short format releases), I’ve come to expect two things from a Smirk record: Nick Vicario will write at least a handful of songs I’ll be spinning for weeks, and he’ll find another way to subtly reshape the project without losing its identity. Speculative Fiction continues that streak.

If earlier Smirk releases thrived on urgency, this one finds confidence in restraint. Vicario eases off the gas just enough to let the good parts breathe. The punk backbone is still firmly intact, but the melodies are more cerebral, the pacing more deliberate, and the pop influences feel less like passing visitors and more like residents. It suits him.

Lyrically, Vicario spends time looking back at a more self-destructive version of himself, reflecting on the consequences of that life. Sonically, Speculative Fiction sounds thoughtful without becoming heavy-handed, trading chaos for craft while keeping the DIY spirit that has always made Smirk such a rewarding project.

One of the things I’ve always loved about Smirk is Vicario’s ability to sneak absolute gems onto every release. Speculative Fiction is no exception. The songs don’t necessarily announce themselves on first listen. They quietly settle in, and before long you’ve got another batch of Smirk favorites lodged in your brain. That sequence of Cheap Greed and Going Off to Die? Excellent. Even better: the run from Dog Years through I Shall Be Released and Perfect World.

Turns out slowing down was exactly the right move.

Add to wantlist: Bandcamp