Released just last Friday, King Princess’s third studio album, “Girl Violence,” fits perfectly into her discography. The singer, born Mikaela Straus, is known for their lesbian-centric pop tracks. The recently released record is by far her most personal work yet, written during a “full ego death” — the end of a long-term relationship, separating from her label and a move from Los Angeles to Brooklyn.
With a runtime of just over half an hour, “Girl Violence” is the queer music that 2025 needs. The record’s eponymous first — and title — track is a raw emotional ballad that asks, “Why does nobody mention that girls can be violent?”
“And I guess it’s true love / ’Cause it truly fucks with me,” King Princess goes on to sing, setting the tone for a revealing record about the messiness of lesbian relationships and the never-ending drama of young adulthood.
The album’s lead single, “RIP KP,” is a sensual indie pop melody with a catchy chorus. On the other hand, “I Feel Pretty” — one of the record’s slower melodies — boasts an almost-hypnotizing combination of instruments and melancholy lyrics that makes it one of the album’s rawer tracks.
The record’s fifth track, “Cry Cry Cry,” marks a departure from the artist’s tendency towards slow ballads, instead reminiscent of angsty 2000s music. King Princess’s rougher voice is complemented perfectly by the backing instruments, especially the drums, that make the song the indie pop rock melody of the summer.
As a whole, the album is a wonderful ode to the indie sapphic pop she excelled at close to the start of her career — think viral tracks “Talia” and “1950.” Although she has tried to match the popularity of those tracks since 2018, “Girl Violence” is their first work to do so — this time, with an alternative rock twist that complements the soulful ballads. In fact, the record’s display of auditory diversity, accompanied by its vulnerably mournful storytelling, leaves fans feeling like at times, the newest album actually surpasses her original work.
“Covers,” a catchy breakup ballad — and one of the more pop-sounding songs on the album — is a standout track, featuring well-timed drums and a chaotic soundscape that brings the song to life. King Princess laments the ghosts of breakups past, singing, “And I suppose that I’m only a ghost / And you never want to see me in your room.”
“Slow Down and Shut Up” is another outstanding track that feels like it belongs in the background of a scene on “The L Word,” a television series about a group of sapphic friends navigating life. It’s a welcome addition to the album, balancing out the many heartbreak tracks that precede it.
As the album’s title suggests, the stories told across the record capture how King Princess challenges the cultural dichotomy of femininity and violence, showing that gender is not as black and white as society would like to believe. No King Princess album would be complete without her unapologetic queerness and the uncertainty of young adulthood that she explores in her lyrics.
Offering almost a microscopic look into lesbian drama, “Girl Violence” is the artist’s best record yet. It’s clear that King Princess took a leap of faith — and landed steadily.
Talia LeVine is a section editor covering arts and culture. They study Political Science and Visual Art with a focus on photography. In their free time, they can be found drinking copious amounts of coffee.
