Bass and drums duo Sumo Princess has been described as a cross between Royal Blood, Devo , Television and Black Sabbath and Elettrodomestico has been described as a satanic electro-pop version of The Mommas and Poppas.
Los Angeles based art-core duo Sumo Princess, feat vocalist/bassist Abby Travis (Go-Go’s, Masters of Reality, Eagles of Death Metal, Cher, Beck, Farflung,) and drummer Gene Trautmann (Queens of the Stone Age, Eagles of Death Metal, Mark Lanegan Tour, Miracle Workers) to tour in April with Jane (Go-Gos) Wiedlin’s Elettrodomestico.
After working together in The Go-Go’s for the past 7 years. Wiedlin and Travis thought it would be fun to have their respective bands join forces for this run. Bass and drums duo Sumo Princess has been described as a cross between Royal Blood, Devo , Television and Black Sabbath and Elettrodomestico has been described as a satanic electro-pop version of The Mommas and Poppas.
In conjunction with the tour Sumo Princess is releasing two 7” limited edition vinyl picture disc singles. The band collaborated with 9 different artists to create 9 different numbered editions of these singles. Star Spangled Banner/ Tinsel Man will be released in 4 editions featuring the art of Brian Grillo, Jacobine Van Der Meer, Jim Herrington and Pat Arnao. You Will Break/ Sumo Princess will be available in five editions featuring the artwork of Rocky Schenck, Darcy Yates, Snakesweaters, Tommy Greñas, and Joe Travis.
Women’s Marches took place all across the country on Saturday (Jan. 21), bringing out record crowds in the name of equality. Washington, D.C., garnered the main spotlight but the March in Los Angeles may have been just as significant in terms of garnering attention through star power and sheer numbers.
In addition to what the organizers estimate was a turn out of more than 750,000 people, the event attracted a powerhouse lineup of speakers and performers. Barbra Streisand, Jane Fonda, Natalie Portman, Miley Cyrus, Demi Lovato, Laverne Cox, Lily Tomlin, Kerry Washington, Jamie Lee Curtis, and many more spoke of the need to protect women’s rights in the wake of Donald Trump’s presidency.
The march started at Pershing Square in downtown L.A. around 9 a.m., then proceeded to slowly move throughout the surrounding streets to City Hall, eventually making its way to Broadway and 6th St., where performers and speakers were gathered. Marchers (many of them in bright pink knit hats referencing Trump’s now infamous words about women’s body parts to Access Hollywood’s Billy Bush) carried countless banners and signs with catchy, clever and often provocative slogans. The massive, colorful crowds were a vibrant site, but the sounds echoing through the city were also rousing. The crowds, filled not just with women, but men and children as well, brought drums, horns, tambourines, bullhorns and their voices, shouting chants like, “We need a leader, not a tweeter!” and “This is what democracy looks like.”
The sentiments of frustration and the need to fight President Trump’s policies were more thoroughly articulated by Streisand, who was the first to speak on the Broadway stage. After Wainwright offered a powerful version of Leonard Cohen’s “Hallelujah,” he introduced the iconic singer and actress.
“Trump’s cabinet choices can’t wait to reverse the progress of our last eight years,” she said. “They are determined to defund Planned Parenthood, which provides health care to the women who need it most and that’s why we’re here today!”
Though Women’s March organizers had stated that it wasn’t specifically an anti-Trump march, the speakers made it pretty clear that speaking out against our new president was in fact the point.
“We must not legitimize him,” Fonda said fervently. “We know what he is up to… taking away our rights and our freedoms and our programs that protect us.”
Cyrus, who was there with a group from her Happy Hippie Foundation, all dressed in bright yellow and black logo get-ups, took a positive approach. “We don’t want to talk about change, we want to be the change,” she said. “And to know that I’m not alone in this dream brings me such hope, and hope is a crucial component in creating the world that we want to live in.”
Before her performance with the Edge, Juliette Lewis and Wilk, and bassist Travis spoke exclusively to Billboard about her participation in the event.
“I’m terribly concerned with the flagrant, unconstitutional conflicts of interest, the possibility that treason has occurred and that fact that Trump is obviously completely insane,” she said. “I’m not OK with normalizing racism, misogyny, homophobia or xenophobia. None of this is OK and it’s all completely surreal.”
While speakers Saturday were equally critical of Trump’s psyche and intent on stage, unity remained the central message, with music and art punctuating and highlighting this. Broadway and Black-ish star Jennifer Lewis and pop singer Brandy brought a climactic, goose-bumps-worthy moment singing her fitting viral hit “In These Streets” — which she just remixed referencing Trump’s plans to build a wall between the U.S. and Mexico (“Fifty million of us will march down south and we will tear down that wall… Fifty million of us will pick up the phone and answer that call.”)
Debbie Allen presented two dazzling dance performances highlighting the beauty of women, while Thelma Houston got the crowd itself dancing to her disco hit “Don’t Leave Me This way,” which she dedicated to former President Barack Obama.
Marc Pfitzenreuter/Redferns Dave Catching performs at the Live Music Hall on Aug. 16, 2016 in Cologne, Germany.
4/21/2017 by Alison Kotch
The new track introduces the EODM guitarist’s upcoming solo album.
As an original member of Queens of the Stone Age, founder of stoner-rock band Earthlings? and current guitarist of Eagles of Death Metal, Dave Catching — owner and resident of famed Joshua Tree, Calif., recording studio Rancho de la Luna — is lucky to call the most talented people in the industry friends. Foo Fighters, Iggy Pop and PJ Harvey have all recorded at Rancho, as well as others too numerous to list.
So it makes sense that Catching would be inspired to collaborate there with some of his most talented friends. Shared Hallucinations Pt. 1: Sonic Salutations From the Venerable Vaults of Rancho de la Luna 1972-1984 (May 26, Dine Alone) features recognizable collaborators like The Duke Spirit’s Liela Moss and Screaming Trees’ Mark Lanegan.
While the album is a quick, approachable listen that evokes QOTSA, Catching says he drew inspiration for the project from ’60s-era psychedelic compilations, where each track told its own story. Fitting, then, that the record-release party (to take place at Pappy and Harriet’s Pioneertown Palace on May 27 in Pioneertown, Calif.) will feature performances by Mojave Lords, The Mutants, Sweethead and Sumo Princess.
Billboard talked to Catching about the tales behind the music, which are rooted in teenage shenanigans, playful double-entendres, a love for Kiss and a mushroom-induced hallucination that once scared him out of his wits.
How did you come up with the title of your LP?
The Pebbles and Nuggets albums from the ’60s and ’70s always had a pretty interesting slant to their titles, and since I was making a compilation record, I wanted it to sound like it had been put together by different people over the years. It kind of sounds like stuff from different eras.
The first track, “Bought and Sold,” is the first single.Who worked on that with you? I thought it was an interesting choice to start with a female vocalist.
That’s Liela Moss from The Duke Spirit. They recorded an album at my house with Chris Goss [Masters of Reality] called Neptune and supported Eagles of Death Metal on tour. We became really good friends. Liela heard the song and loved it, and wrote and recorded it in like an hour. So as much as I wanted Jesse [Hughes of EODM] to sing on it, she completed it, and it was so good that I had to go with it.
Listen to “Bought and Sold” here:
That’s one of my favorite songs, and I think that’s a great opener to the album.
It’s one of my favorites, too. It leads you into the album … I think a lot of people could kind of relate to that instead of hitting them with something hard or heavy to begin with.
It seems very mellow and inviting, and I felt the same way about “Ghost Stories” — it’s such a good, transitional track. What was the inspiration behind those lyrics?
Gary Wertz [of Strawberry Smog] sang and wrote the lyrics to that. We recorded that with Jonathan Hischke [Dot Hacker, Hella, Broken Bells] and Barrett Martin [Screaming Trees]. I was having trouble coming up with a guitar solo, and he put it together in seconds.
Male and female vocals are featured on “Shake, Shake Shake.” Who’s singing?
The female vocal is Serrina Sims [of Sweethead], and the male vocal is Troy Van Leeuwen [of QOTSA]. I gave that to them because I felt like they could really nail the vibe of it, and they exceeded my expectations tenfold. I wasn’t expecting the Troy part: It has a Bowie, Man Who Sold the World vibe.
It’s nice that people can impress you sonically or vocally when you put them together.
A lot of people I know … they definitely have an idea of exactly how they want things to sound. I had gotten to the place where I didn’t know what to do with them anymore. And that was the fun part of playing them for people and having them say, “Ah, I like this one! Let me try something with this.”
“Your Daddy’s Waiting” has a playful and fun vibe to it. What’s the story behind it?
When I was a kid, I took a girl to see The Police on their first tour. They were playing a tiny club in Memphis, and we were both so young: I think I was 17, and she was 16. We snuck out, and somehow her father found out. Someone came [into the club], and they were like, “Hey, your daddy’s waiting outside. He found out where you guys are. He wants you to get out here, pronto.” That’s how I came up with the title, and it kind of developed from there.
He was probably like, “Get my daughter home!”
I never saw her again! And she was forbidden to see me… young love.
You corrupted her!
I did indeed. Chris Goss is the ‘Give it to the DJ’ voice. He’s playing a lot of the cool stuff on there as well, so… that definitely ties in with the Queens, because he produced a lot of Kyuss and Queens stuff, too.
“Electric” is well placed in the flow of the album. I see this as a great warm-up for a show or a song that you’d listen to at a bar at the beginning of a night out. It’s got an energizing feel to it.
I’m glad that you got that. That’s how I feel about it. That one was written a really long time ago, and I recorded the guitar part on my computer. A couple years later, I gave it to Sean Wheeler, who sings on it, and he’s a really awesome guy.
His first lyrics were just one line repeated over for the whole song. He finished and was like, “That’s cool, right?” And I’m like, “Dude, you just sang the same line the whole song!” And he goes, “Yeah, but that’s cool, you know?” And I’m like, “No, you’re just being f–king lazy. You got to write some lyrics!” I think those are probably the funniest lyrics on the record. It cracks me up every time.
“Candy” has a very cinematic, story-like feel. It’s very pretty and has a retro vibe. Is that what you were going for?
I had the whole song finished and I didn’t have any lyrics, but I always liked it. I gave Abby Travis the song —she and I played in Eagles of Death Metal, Earthlings?, Masters of Reality, and a lot of other bands… I wasn’t going to put it on the record because it’s so different, but I really like what she did with it because the story is pretty amazing: You definitely visualize a lot of cool stuff in there.
Is “Candy” literally about candy, or is that a euphemism for something else?
You’d have to ask Abby, but I would assume it’s probably some of each… some candy and some other things.
The same with “Shared Hul”: When you talk hallucinations, are you referring to drug hallucinations or just a similar experience with someone?
That is actually a true story. It’s about a time when my friends and I were really young, and we picked some mushrooms from a field and went back to my parents’ house. It was Saturday night, and a chair got up and danced in the middle of the room and then went back to where it was. I saw this, and I was freakin’ out. And then someone said, “Did that chair just get up and dance in the middle of the room?” That really freaked me out, because I’ve never had a shared hallucination with anyone.
“Come On” is another fun song. I could see it being played at a barbeque in the summertime. It’s got an infectious groove.
I’m really glad you like it, because that’s one of the other ones that was finished really quickly … I was just playing my guitar, and the tone dictated the song. It’s kind of like my homage to Kiss: I grew up with Kiss, and it’s supposed to be a Kiss-type song.
“Ghosts” is a definite change of pace, and also the first song to feature piano and guitar. Is there an organ on it, too?
Most of it is organ, trumpets and everything. My friend Chris Goss is one of the most talented guys I know. He brought over this giant organ a long time ago, and he did incredible things. I had to get rid of it because it’s kind of falling apart, and it was so giant that it took up so much space, and almost everything on that track is that organ. And then I gave it to Alain Johannes to do with Mark [Lanegan], because Mark was recording a lot of stuff with Alain at the time. So that’s another one where everyone heard it and added things to it. It really does change the vibe of the whole record.
“Pretty Bird” works well between the last two songs. It’s energizing, yet it almost sounds like a rebound song after mourning lost love.
I like that you picked that up, because it feels like that to me. Alain Johannes really is the most talented musician I’ve ever met in my entire life. There’s absolutely nothing that he can’t play, any instrument or vocal. He’s the nicest, coolest, guy. I ended up getting the riff together and came up with this drumbeat and played the guitar, and Alain took it to the next level with his beautiful vocals. It’s almost like a hard-rock, Stevie Wonder vibe. I don’t know how to say it, but it kind of works like that. Troy [Van Leeuwen] ended up playing on that as well and really turned the song on its head. I can’t say how much I loved what Alain did to that song.
“Overdrive” is a great choice for the closing track. It has very empowering lyrics for anyone trying to escape a bad situation or who needs a good kick in the ass to make a change.
I can’t remember what the original lyrics were, but they were a little bit different. And I was like, “Nah, we don’t do negative here. We’ve got to do positive. This song is too rockin’ to be a negative song. We’ve got to change it.” It’s supposed to be a fun song, and I think it’s a good way to leave. It kind of pumps you up and leaves you in a good place.
Abby Travis is one badass bassist. She just recently ended the final Go-Go’s tour after playing with the storied Los Angeles band for much of the last half-decade, but that gig was just one notch on the talented four-stringer’s bass strap. Travis, who got her start in the mid-’80s with The Lovedolls, has played with The Go-Go’s, Beck, comedian/lounge singer Tony Clifton (created by the late, great Andy Kaufman and occasionally resurrected by Kaufman’s friend Bob Zmuda), and seemingly everyone in between.
One might think all of these great gigs would make a musician jaded, or worse, stuck on herself. But Travis is down to earth and there isn’t a hint of rock star attitude lingering around her. It’s refreshing to talk to a performer who clearly loves what she does, whether she’s acting as a hired gun laying down bass lines live or in the studio for well-established rock bands, or creating solo work or putting together bands of her own — like her current act, Sumo Princess, a two-piece bass and drums mix of stoner-punk and art-rock. She even gives music lessons when she’s in town long enough to share her immense talent and musical knowledge.
Photo by Kathy Flynn
My conversation with the 46-year-old native Angeleno back in September started with another bassist I recently profiled, Redd Kross’ Steve McDonald.
Did you get the link I sent you with the Steve McDonald story?
I did. I was stoked to see him get his due. I’m a big fan of Steve McDonald. He’s totally under-appreciated and I don’t think he gets enough props. Weirdly enough, the first band I was ever in was this band called The Lovedolls and they kind of came from this movie Dave Markey made. The songs that were on the soundtrack of the movie that were the Lovedolls songs were actually written and performed by Redd Kross. So the first bass lines I ever learned were Steve’s bass lines, which was a really great way to be introduced to the instrument.
How did you end up playing bass?
Kim [Pilkington] was the guitar player of the Lovedolls, rest in peace, and she was dating my older brother Dave at the time and the band had come into existence and they were looking for a new bass player. Basically, she liked the way I dressed and I’d given her a tuna fish sandwich one time at our house when she was hungry and I brought the average age of the band down by about five years. At that point, that was enough to be in a band. That’s how I started.
Photo by Austin Young
I hadn’t played bass before and I remember Kim telling me, “Don’t tell Janet [Housden, the drummer] that you haven’t played before.” [Laughs] She gave me some lessons and that’s how it all started.
So did you play guitar at that point?
I’d taken piano lessons as a kid.
So you could read music. Did that help you in the Lovedolls?
Reading music doesn’t help you in the Lovedolls [laughs], but understanding how to play an instrument can help you play any instrument.
How old were you when you joined the Lovedolls?
I was either 15-and-a-half or 16. I think I was in 10th or 11th grade. I’m the worst person for this kind of stuff, especially years. Don’t even bother asking me what year something happened.
Staying on the bass for a bit, what’s your bass of choice?
It really depends on the project I’m doing. I have three main basses that I use. For a lot of stuff, I use my Yamaha BB 2000. That’s really my main bass, but in Sumo Princess I use my Music Man Stingray. I also have a ’73 [Fender] Precision that I keep flat rounds on, so if I’m doing a recording that I want to hear that sound, I’ll use that bass. It really does depend on what I’m playing. I’m not that into gear, so I have had all those basses for a long time.
You’re a bass player after my own heart. I’m not a gearhead either, but there are a lot of them out there that like to know this stuff.
For the gearheads, then, you can say the Music Man is an Ernie Ball, made in the USA.
Those are pricey.
I got that in the ’90s. I had one of those fortuitous moments. My friend and I went to Sam Ash. He’s one of those guys that’s always looking for a deal on a new guitar. I was like, “I don’t want any other basses unless I see a Music Man Stingray with a rosewood fret board” and I walk in and find one for $800.
I play it in Sumo Princess, my new band, because that band is just bass and drums and I’m looking for more high end and the Music Man gets so much fuzz and I’m looking for those overtones. It’s more comfortable to play and it gets the sound I want for that project.
What’s your amp of choice?
Well, I’m an Ampeg artist so I use an Ampeg VR and an 8-by-10 [speaker cabinet].
Oh, those are fun to carry around.
Well, I don’t carry them around. Most of the gigs I do, there’s roadies, but I have to say I’m starting to feel really guilty because for Sumo Princess, part of the sound is having that massive amp and speakers and poor Tommy [Grenas, Travis’ husband] has to schlep it. As soon as we get a little success I’m hiring a roadie because I feel guilty asking my husband to move it all the time.
There are some amazing solid-state heads that are small enough to fit in an overhead baggage that sound pretty great. I used one for the Farflung tour [Grenas’ longtime, and awesome, band that Travis occasionally plays with], but when I’m doing all the analog effects and I want that distortion, it sounds better with a big, gnarly tube head.
I noticed on your website that you give music lessons. How did you get into that?
I started doing that about 15 years ago. I am a trained musician. I graduated from a jazz music school. There’s always more to learn, but I have a pretty good understanding of music theory and I’m a big fan of modal harmonic theory in particular, which I happen to think is fantastic theory for creating bass lines.
I don’t have any kids, so that experience of teaching … when you show somebody how to do something that they have never been able to do before, the look on their face when they are able to play something or they understand something … it’s a really wonderful gift, you know? I enjoy teaching students. It’s a great way to supplement my income when I’m home and [laughs] I’m not really qualified to do a lot of other stuff, so there you go. One of my kids, a student of mine, I think she’s about 14 and she’s already got a record deal. I’m so proud. It’s a lot of fun.
What’s the most important thing for folks to grasp first, in your opinion, when someone is learning a new instrument?
The first thing that I go over with new students is how to physically hold and play the instrument properly so they don’t hurt their wrist or get tendinitis. I tailor my lessons, though, for each student because each student has different goals. It really depends on what they want to do or learn. I use a lot of Ramones’ music with my beginners because it gets their right hand together and teaches them how to play in time.
Let’s talk about your career a bit. Tell me more about doing The Lovedolls.
They kind of had a leg up because they came from those Dave Markey movies [Desperate Teenage Lovedolls and Lovedolls Superstar] so they had more going on than most baby bands. It wasn’t terribly hard and I had a lot of fun. It was still that early punk era so it wasn’t like anyone was looking for me to play fancy Jaco Pastorius type stuff. I’m not easily frightened anyway, so I just had fun with it. The only thing that used to happen a lot, though, was because I was underage, a lot of the venues we played I’d have to stay outside or in the kitchen. It was fun, though. We got to do a little bit of touring and I enjoyed the experience.
Photo by Kathy Flynn
You have a really extensive resume. Was that your plan, to play with a lot of different folks, or had you not just found a band experience that was fulfilling?
After The Lovedolls, I was in a band called The Rails that was a power-pop trio, and that was a good experience. But after I finished school, it got to the point where it was kind of important for me to make a living. It was not like I wanted to be this touring bass player for hire, or session person, but I was open to opportunities, and if people would call up and offer me chances to audition, I was like, “Why not?” I was always working on my own stuff, too, but I was open to different things that came along.
I’ve sometimes wondered if my own career, meaning the records I’ve put out under my own name, of which there have been four, if I’d been singularly focused on doing my own music if that would have gone better? Who knows? Those are unanswerable questions.
How do you like to write?
All the stuff I’ve written under my own name, I wrote that on piano. For Sumo Princess, my new band, a lot of it is being written through improvisation, or I’ve been writing it on bass because I want it to be different than my old stuff.
Who is playing drums in Sumo Princess?
His name is Gene Trautmann. He was in The Miracle Workers and he was in Queens of the Stone Age and Eagles of Death Metal. He’s an old friend of mine and he’s a good guy.
Are you one of those folks who writes every day?
No. I write when I feel like it. Usually the best writing I do, or the best time to finish songs, is when I’m walking one of the dogs. I think [jazz legend] Billy Strayhorn said something similar, like, the time to finish a song is not when you’re trying to. You have to free the subconscious mind to work on its own.
Going back to your résumé, are there any projects that you consider favorites?
I don’t really like to pick favorites that much. I’ve had a lot of amazing experiences that I’m very, very thankful for. I really enjoyed being with The Go-Go’s for the past four or five years. I really love their music. I grew up on their music, so getting to be a part of that was quite a lot of fun. Getting to play the Hollywood Bowl with a full symphony orchestra backing us up … I never thought I would get to do that.
I also loved playing in Masters of Reality. Getting to play music that was that heavy and with people that are such good musicians. I had a lot of fun working with Eagles of Death Metal. They have such an amazing audience and it’s total ass-shaking music that’s fun to play.
In my 20s, when Beck played the Reading Festival. I had never played to 40,000 people and that was really neat. Getting to go to England and Europe at that age was very cool. I’m very fortunate that I’ve gotten to do a lot of fantastic things.
And a variety of different styles, too. Going back to The Go-Go’s for a second, was it surreal realizing you were playing with them after having grown up listening to them?
A little bit, yeah, it was. Even though I knew most of them before I ended up playing with them, but yes it was. It was pretty surreal. I particularly like playing songs like “This Town” and “Our Lips Our Sealed” and seeing the audience reaction to them.
It’s different when you play music that brings you back to a certain age. I don’t know how to describe it.
I totally get that. I play in a band now with one of the original members of JFA, who were huge out here in my hometown when I was growing up, and sometimes that 13- or 14-year-old kid in me pops up and freaks out because now I’m playing with one of the guys I grew up idolizing.
I totally have experiences like that. I just made a record that came out this year with Alice Bag. Who has been a friend of mine for a really long time. The stuff that I played on was very Phil Spector-y, ’60s girl group … I used that flat-wound [Precision Bass] on it. We did a show, the record release party, and she had me play “Babylonian Gorgon” with her and I was freaking out the whole time. When she came out — and she’s someone I’ll have cocktails with and hang out [with] — but when she came out she was in full “Alice Bag” mode and doing that dance that is so specific to her that no one else does. It actually kind of startled me and made me so happy that I almost fucked up the song. [Laughs]
What was it like playing with Gibby Haynes and His Problem?
It wasn’t my favorite. I’ll leave it at that. I survived the tour, I’ll put it that way. [Laughs]
I have to ask, as well, how did the whole Tony Clifton thing happen?
That was completely random. Tommy and I went out to our friend’s bar one night who worked with Tony Clifton and they were looking for a musical director and I said I’ll do it. It was totally random.
How was it? People have some different ideas about Tony Clifton.
Let me think about how I want to answer that. It was interesting and I think I’ll give Mr. Clifton credit for always being in character, even for rehearsal. He was always Tony. I was OK when the job ended, but we ended on good terms. It was fun for me to have a regular job. It was at the Comedy Club. It was fun to have a normal schedule like that for a while. There were some good players in the band. I thought a lot of his comedy was quite funny and the thing I’m most proud of as musical director was I got him to do “Living After Midnight” by Judas Priest. He came out in ass-less chaps and I think it is hilarious that I contributed to the comedy world.
So, you’re doing Sumo Princess now. Have you recorded yet?
No, we’re doing our first recording in a few weeks. I’m terribly excited. [Note: Since this interview took place, the recording has been completed.]
Oh cool, where are you recording at?
We’re recording at my friend Dave Jones’s studio. Not only is he a great guy and I can’t wait to work with him, but he’s got an analog tape machine and the amount of distortion and gnarliness we’ve got tone-wise, what we’re doing will work better with analog. He’s a fellow bass player, as well, so I think it will work really well there.
I’ve recorded most of my records at my own studio, but I’ve now discovered that a.) I don’t really like engineering, and b.) I really don’t like playing and engineering at the same time. I don’t like wearing too many hats. I’m very happy to be working with Dave in a few weeks.
Our next show is in December at Pappy and Harriet’s. It’s a great venue. I’ve been going out there for a long time because my friends have a studio out there. I don’t like it in the summer though … it’s too hot.
So that’s the next gig?
Yes, the show is on Saturday, December 3rd. We’re trying to be kind of picky about what we do because we’re both older and we want to play, but only if it’s right. To do an opening slot at the Viper Room is not of interest. We’re thinking of putting together things that are more like, happenings, or special events. Things that are worth it for us and worth it for the audience to come out.
We’d like to put out a record, maybe next year, in Europe and go over there and tour with it. That’s kind of the goal right now.
I was going to ask what you were doing with the record.
I think when the band only has two people, it makes it more affordable. I’m also super-interested in doing split 7-inch or split full-length records with like-minded bands. Farflung does a lot of stuff like that and I think that is a great way to expose your music to new fans and hear other people’s music.
Are you working on any more solo stuff?
No. I’m not doing any Abby Travis music any more. I started going Sumo Princess because I hated music and I started the band to keep myself from going completely insane. The only Abby Travis stuff — and I know it is really lame to talk about yourself in the third person [laughs] — that I ever do is there’s this place called Brookledge which is owned by the family that started the Magic Castle. There’s this theater there that Orson Welles used to practice his magic act with Marlene Dietrich as the assistant. I’m a huge fan of Hollywood history, so it’s really cool to play there.
So nothing is on your schedule right now other than Sumo Princess?
I just got off of working since March, so I’m quite happy to be home and only focusing on this project right now.
Photo by Rocky Schenck
So were you on the road for five or six full months?
Well, I wasn’t on the road for all of it. There was a bunch of Bowie tributes that I did this year because David Bowie was my favorite artist ever, so I was happy to take part in those playing bass and singing. There was a Farflung tour for five weeks. There was Go-Go’s stuff and in between that I played keyboards with Alan Davey’s of Hawkwind and I did the album and show with Alice Bag. There was just a bunch of stuff. My brain actually started to feel like it was getting full because every week I was learning a whole bunch of songs.
It’s nice to be able to focus on my own stuff for a while. I’ve been pleasantly surprised by the audience response [to Sumo Princess] because the music is pretty weird. I’m using a lot of different effects. There’s a ton hardcore elements, but I’ve heard elements of The Residents and Klaus Nomi. It’s minimalist and strange and kind of angular. I had no idea if people were going to dig it or not, but I’m pleasantly surprised that people are excited by it.
It’s also fun for me, I have to admit, because so much of what I do is working for other people and my job is to make their vision complete or work out. Sumo Princess gives me a lot of freedom. There’s a lot of improvised parts in our set, a lot of jamming, so I like the creative freedom and spontaneity of that a lot. It’s working for me right now.
That has to be nice.
I do know I have to work in January, and there is some little stuff here and there, but I don’t have any big things on the table. Normally that would freak me out, but I’m pretty happy that I’ve got this window to work on Sumo Princess.