We apologize for the lack of controversy, Princess…

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[4.86]Alfred Soto: Anchored to a three-note synth hook, Princess’ rap sounds mournful instead of triumphant, as if the track were reminding her she has no idea how much she’s disliked. Lord knows why – she’s plenty boring.
[4]

Brad Shoup: The track is super-friendly, a New Age embrace spangled with the sounds of doorbells on Zoloft. I wish the dead people living in Princess’ pockets were the jump off for a creeeeeepy story.
[5]

Anthony Easton: How empowering is it when women continually absorb masculine language and tropes to describe their own sexual or political power? As someone who traditionally reads male, what does it mean when the phrasing is centered on cumming instead of something like making one’s pussy wet? Genuine question.
[5]

Iain Mew: Considering how confrontational the words would read on their own, it’s amazing how unassuming this sounds. There’s something about the soft lullaby of the synths and Princess’ pedantic tone that makes it very easy to let it drift by pleasantly and barely even notice the “you ain’t shit”s and the “eat my cum”s. At the end of it I don’t see why they have a strong opinion on her either way.
[5]

Katherine St Asaph: Listening to this feels like what I imagine listening to Kitty Pryde felt like for others. This references Rick Ross instead of Danny Brown, it’s more confident and less crushed-out, and the clouds in the production could be rendered with a couple fewer bits, but otherwise, in sound this is much the same; the differences are mostly identity politics. So I can’t justify a negative reaction; I’m scoring as such.
[5]

Jer Fairall: And yet no mention of your weak flow, tiresome profanity and General MIDI-grade accompaniment?
[3]

Jonathan Bradley: When “Knuck If You Buck” crept on to BET back in ’04, it felt like stumbling across a lost, ancient artefact: the cheap synths, grimy video, and unhinged aggression made Crime Mob sound like something never intended for wider consumption. Eight years later, the group no longer exists, but Princess’s music has, if anything, grown even more amateurish. “I See Why They Don’t Like Me” is 99c store rap; “Knuck” sounded uncivilized because professionalism was out of its price-range, but “Like Me” is too budget to even be violent. The beat is where chillwave meets Casio presets, and it makes Princess’s pugilism sound distant and hollow. In the video, she grooves along outside a Macy’s, and this song sounds like it might have been created en route from Foot Locker to Cinnabon. She’s no longer regal or terrifying — all that remains is bravado.
[7]