There’s a particular kind of allure that lives inside a garage before a band ever steps onto a stage. It lingers in scuffed amplifiers, platform boots kicked into corners, lipstick-stained microphones, and notebooks overflowing with thoughts too loud to keep to yourself. On her new EP “Miss Ego,” Los Angeles rocker Kit Major bottles that feeling and lets it explode.

Released just a few days ago via Futureless, “Miss Ego” arrives as a six-track statement built around identity, femininity, and the question of how much space a woman is allowed to occupy – onstage, in relationships, within the rock scene, and in the world itself. It’s a project that feels equal parts confrontation and celebration, less interested in fitting neatly into a category and more interested in kicking holes through the walls surrounding it.

For Kit Major, the record began with a single phrase: “There’s no room in bed for Miss Ego.”

The line emerged during a period of writer’s block while she found herself choosing between two songs built around the same idea. Rather than abandon either path, she followed the thread further. Eventually, that thought expanded outward, becoming the foundation beneath the entire EP and the lens through which the project would take shape.

The result is a record that somps forward with the same energy that defines a Kit Major live performance. Platform boots hit the floor, guitars snarl through the speakers, and every chorus feels designed to be screamed out car windows at red lights or shouted back by a crowd packed shoulder-to-shoulder beneath stage lights. It’s messy in the best way possible, embracing imperfection rather than sanding it down.

Alongside the EP, Major also unveils focus track “Messin’ With Me,” a hook-heavy garage rock anthem paired with a music video directed by her sister, Emma Lev, who previously helmed the visual for the title track “Miss Ego.” The collaboration feels fitting. The visual world surrounding Kit Major has always carried a sense of playful rebellion, balancing grit and glamour in equal measure.

“She has a great way of helping me channel the feeling of playing dress up again,” Major explains.

That sense of rediscovery runs through the EP itself: “This EP was a way for me to express my femininity through my rock music unapologetically,” she says. “’Messin’ With Me’ is an accidentally optimistic garage rock jam. I wanted it to feel like the music I love listening to.”

And that’s perhaps what makes “Miss Ego” so compelling. It never feels manufactured. The songs aren’t trying to recreate a bygone era of punk rock or simply pay tribute to the artists that inspired them. Instead, they feel like someone rummaging through the genre’s toolbox and repurposing the pieces into something entirely their own.

Critics have already taken notice. While comparisons have ranged from Iggy Pop and Blondie to Amyl and the Sniffers and Viagra Boys, the conversation surrounding Major increasingly centers on her ability to carve out a lane that feels distinctly hers. Publications have praised everything from her high-voltage live presence and introspective songwriting to the way she balances punk abrasion with pop instinct.

It makes sense when you consider the path that brought her here. Growing up between Chicago, Tokyo, and Beijing, Major absorbed music from every direction imaginable, pulling inspiration from Sonic Youth, Green Day, Gorillaz, Britney Spears, and countless artists in between. That collision of influences remains visible throughout “Miss Ego.” One moment, the songs feel like they’re rattling around inside a downtown club at 2 a.m.; the next, they’re unfolding with the immediacy of a pop chorus designed to lodge itself permanently in your head.

But beneath all the noise sits something more personal. At its core, “Miss Ego” feels like an examination of visibility. Of confidence. Of learning how to occupy space without apologizing for it. That’s why songs like “Messin’ With Me,” “Punk Rock Boyfriend,” and the title track resonate beyond their infectious hooks. They’re not just fun. They’re declarations. And Major delivers them with the confidence of someone who knows exactly where she stands.

The EP arrives ahead of a string of upcoming performances, including Dum Dum Fest on June 27 at The Echo in Los Angeles, before heading overseas for a run of U.K. dates spanning London, Liverpool, Leeds, and Manchester.

For an artist frequently described as high-voltage, rebellious, and impossible to ignore, “Miss Ego” feels like a fitting next step. Not because it reinvents who Kit Major is, but because it sharpens the picture. It’s loud. It’s playful. It’s defiant. And above all, it refuses to make itself smaller.