Princess Goes (Michael C. Hall) Shares
“Eat An Eraser (Resurrection Remix)” Single + Video
As Seen On Dexter: Resurrection New Series
New Single Out Now Via All DSPS
Credit: Lexie Moreland
LISTEN & SHARE: Princess Goes – “Eat An Eraser” (Resurrection Remix)
Stream | YouTube
Princess Goes, the band composed of vocalist, lyricist, musician and actor Michael C. Hall (Dexter, Six Feet Under, Lazarus), keyboardist Matt Katz-Bohen (Blondie, Cyndie Lauper), and drummer Peter Yanowitz (The Wallflowers, Morningwood) ā have shared their rhythmic, synth-tinged single “Eat An Eraser” (Resurrection Remix). Originally released on their debut 2021 LP Thanks For Coming, the band has remixed the track to celebrate the release of Dexter: Resurrectionāthe newest series from the Dexter franchiseāand will be included in the ending credits of episode 5. The song is also accompanied by an official lyric video directed by Andy Yanowitz and follows the release of their 2024 album Come of Age (Deluxe).
“In August of 2023 we were in Times Square with no permits, no budget, filming a gorilla style music video for our song āCome Of Ageā with director Marcos Siega, whom Mike had worked with extensively on Dexter,” Peter Yanonwitz explains. “The actors’ strike had been dragging on, and Marcos was tired of sitting around not working, so he reached out to Mike and thatās how we found ourselves filming late one night. On a quick break between takes (over a slice of NYC pizza) Mike turned to his old friend Marcos and said, ‘Hey, what if Dexter didnāt die?’ Well, a light bulb went off in Marcosā head, and the next thing you know Mike is back shooting ‘Dexter: Resurrection’. We couldnāt be happier for Mike and his incredible show. Weāve always tried to let the music speak for itself, and keep Princess Goes separate from Mikeās acting career, but when we were asked by the show if they could use our song āEat An Eraserā for the end credits this season we jumped at the chance. Itās rare for the show to feature a band in that slot, and weāre beyond honored to be part of Mikeās enduring legacy.”
“Eat An Eraser” (Resurrection Remix) is out today.
Princess Goes – Come of Age – Bio:
āWeāre a weird band,ā states Princess Goes drummer Peter Yanowitz. Heās not wrong. But weird like David Bowie, Bjork, and Brian Wilsonās Smile might be termed āweird.ā In other words: unconventional and quite possibly irresistible.
Princess Goesā second full-length album, the 12-song Come of Age, is the trioās most accessible work to date, yet itās still chock-full of innovative songs that traverse a thrilling and often surprising sonic and lyrical landscape. The first single, āShimmer,ā highlights Michael C. Hallās powerful, ethereal vocals atop quietly propulsive rhythm lines, and features Stephen Trask (Hedwig and the Angry Inch) as guest guitarist. The track’s equally stunning and expansive video was directed by Tim Richardson (Elton John, Billie Eilish, Givenchy). āTake Me Homeā serves up a soaring emotive trippiness that morphs into headbanging moments worthy of the heaviest metaller or your favorite Zeppelin album, while the haunting āJetpackā showcase Hallās poignant lyrics and penetrative voice, at once bell-clear and diaphanous, as the song builds to a wild and harrowing conclusion.
The 12 songs on Come of Age are by turns foreboding, mystical and danceable, Ray Bradbury-meets-the-Jetsons in its galactic aural scope. The ominous semi-drone beginning of āBlurā morphs into synthwave spectacularness, the songās dynamics suiting Hallās lyrics about āan illicit formative encounter.ā Some of Hallās most pointed writing is on the title track, āCome of Age,ā the irresistibly bouncy musicality cut by the singerās trenchant words: āGodzilla goggles seeing nothing but King Kong makes it hard to get along,ā he sings, before deadpanning, ādid you really mean it when you told me I was good / or are you just a devil spitting Hollywood.ā
āCome of Age,ā explains Hall, is neither a command that the audience come of age, nor a suggestion that Princess Goes has reached some adulting milestone. As with much of what the trio does, it just intuitively felt right. It was likewise an easy decision to include a remixed version of a previously released song, the fan favorite āLet It Go.ā Princess Goes felt the cut, as originally written, was sort of an outlier. It started with Yanowitz. Matt Katz Bohen took it home, sped it up and it became a little more EDM, but also fun, poppy, and anthemic. The LPās mixer and frequent collaborator Brandon Bost (HAIM, Miley Cyrus, Lady Gaga) worked on the song with the Princess Goes (and also plays some bass and keys to the album), and now the band can hardly wait to play the new, slightly more expeditious incarnation of āLet it Goā live.
The New York City-bred trio have been gigging and recording DIY-style for several years, self-producing and releasing a self-titled debut EP in April 2020 and a full-length debut, Thanks for Coming, in 2021. Touring the West Coast as well as the UK and Ireland found new fans clamoring to see the eclectic trio. Fan and press raves followed. The Associated Press lauded the lineupās āmix of glam, dreamy ā80s New Wave, acoustic folk, Nine Inch Nails intensity,ā while Billboard noted the trioās āpalpable theatricality.ā Hall, Katz-Bohen, and Yanowitz are seasoned performers forging new creative ground together in PG: Hall is best known for playing moralistic serial killer Dexter Morgan from Showtime hit Dexter as well as David Fisher from HBOās revered Six Feet Under. Katz-Bohen has played with Blondie since 2008, while Yanowitz is a veteran of the Wallflowers and his own group, Morningwood.
Though onstage and on paper theyāre a keyboards-drums-vocals band, Come of Age is rife with guitar and bass, instruments that play a bigger role than on previous recordings. āI think the original sounds that Matt and Peter first made came about because necessity was the mother of invention,ā says Hall. āItās what was in the studio when they first started making instrumental tracks, electronic drums and a lot of keyboards.ā
The musical evolution on Come of Age was organic. āWe really fully embraced not limiting ourselves,ā says Yanowitz, āand we did embrace the guitar heavily–electric and acoustic–and a lot of bass.ā
āWe like the fact that a lot of the times you can’t tell instrumentally what’s what,ā furthers Katz-Bohen. āPeople say āthat sounds like a guitar,ā but it’s actually a keyboard playing through a guitar amp. There’s always that āwhat makes that sound? What is that thing?āā The songs manage to be at once catchy and intoxicating, soundtrack-y musicscapes for the ages, synth- heavy but multi-faceted.
Writing new music since the release of Thanks for Coming, PG recorded Come of Age at the bandās Clubhouse near Manhattanās Union Square. The central location allowed for stellar guests, including next-door neighbor Maria PeƱa Paris, a Colombian poet who became the Spanish voice on the Latin-tinged āWhatever Whispers.ā āWe make a lot of noise at the studio, so she probably gets the brunt of that, and she knows all of our songs,ā they recall. One of the lyrics she contributes to āWhatever Whispersā (āwhat kind of glory are you looking for?ā ) came to Hall as he was waiting for coffee before going into the studio. The trio worked up the first version together in the studio, starting with Katz-Bohen jamming on a uniquely tuned 1910 upright piano. Other guests populating Come of Age include singer Chantal Claret (Morningwood) on āBeija,ā and Grammy winning opera singer Anthony Roth Costanzo on āSaving Grace.ā
Illustrative of Princess Goesā experimental open-mindedness, the title track came from the street. Literally. āI live in Bushwick, in Brooklyn,ā begins Katz-Bohen. āYou’ll find a random lot of garbage on the streets. But there was a keyboard, I think from the early to late ā80s. Itās not great, but it does have this one beautiful sound which became the basis of ‘Come of Age.’ So I sent that around to the guys and everyone put their magic on it.ā
Clearly, Come of Age flowed sans any preconceived notions or touchstones. But thereās a clear cohesiveness to the album. āEverything you hear still sounds like it’s āin the Museum,ā which is our terminology for something that fits in with our aesthetic,ā explains Katz-Bohen. Which leads to the shortened band name: Thereās no crazy story behind the original Princess Goes to the Butterfly Museum moniker; there are far more interesting things about this trio. But for enquiring minds, they now go by Princess Goes because, in short, itās shorter. Princess is now free to Go anywhere and everywhere, travelling lighter as PG instead of PGTTBM.
The groupās evolution is ongoing and often unearthly, spacy and provocative in the vein of Bowieās Blackstar. (Hall played Thomas Newton in the original New York cast of Bowieās off- Broadway musical swan song, Lazarus). āI think the vibe of the latter third of Come of Age, goes to a place that’s a little more expansive or hopeful or mystically minded,ā Hall says. āThough I suppose it starts on that note too. You want some things to have a musical unfolding and flow, but you also want some sort of evolution that makes sense lyrically. I think we managed to do both those things with the sequence.ā
And for newbies to the Princess Goes sphere, fair warning: If anyone goes to a PG show to see the āguy from TV,ā once Hall is on-stage singing, he says, āthat actually sort of takes care of itself. If people have some sort of preconception, itās pushed aside once we’re up there doing our thing. It’s not unique to this band,ā Hall says. āI go to dinner, and people are like, āHey, you’re that guy!?ā And I’m like, āI’m not actually that guy.ā Itās just another version of āI’m not that guyā.ā
Although Come of Age is the groupās second full-length album, Princess Goes are as excited as first-timers. āUntil now we’ve been gestating in this small world, being in our own cocoon and working the last bunch of years,ā says Yanowitz. āI feel like this group of songs and this sort of statement that we wanted to put out with Come of Age tied in nicely to that. It also felt like we kind of graduated out of that scene the three of had created, and maybe wherever we go next is to the wider world. The making of Come of Age felt like a bookend to the way we were working, a stepping-off point for something new.ā
