First, the obvious: how did you settle on the moniker of Petticoat? Was it more about sheltering the listener, or music offering you a coat of your own? Or something else entirely?

I’ve been making music since middle school and been in various projects. I always felt like I was serving the music and the music was never serving me. As an artist, you try so hard to push a presentation of cool; from how you dress to what you write. If it’s not reflective or involved in individual growth, it can be so easy to just get caught up in current trends and expectations. I created Petticoat to serve a side of me that I felt I had to repress due to being in spaces where I created expectations of myself. From home life, music scenes, and institutions, it was always a struggle to try and explore femininity, gender roles, and sexuality because of the potential backlash or misunderstandings. Petticoat is here to help me explore that side through art. I serve the project, and it serves me back.

How was growing up in the Bay Area? I'm always interested in how location shapes a person, how their experience will totally differ pending their local culture.

The Bay Area has a tremendous history of music and had such incredible scenes of rock music, funk, and most notably hip hop. Growing up, my brothers introduced me to a lot of it, including Messy Marv, Keak Da Sneak, and Luniz. Not to mention the many random mixtapes shopped out of trunks of cars.

How has it influenced both you and your music?

Bay Area rap, most notably hyphy music, was incredibly synth heavy, bouncy, and typically existed around 90-110 bpm. Nowadays, 100 bpm is usually the tempo I have the most ease creating something at, because I know it will be the easiest thing for me to feel out. I grew up with it, listened to it on the radio and at school dances. That bounce is just part of me thanks to where I’m from.

As you've mentioned, the Bay is known, naturally, for its thriving, unique hip hop scene. Obviously your music is quite removed from that, but would you like to collaborate with that world at all? I'd love to hear an E-40 verse on a Petticoat track.

Oh man, don’t get me started. I listen to so many artists that were introduced to me from living there. Obviously E-40 and Lil B. Still listen to Young Curt and D-Lo. Even the newer stuff like what JUNEONNABEAT is making really goes. I would love to work with any of them. The music hard, at times hilarious and self referential, and incredibly forward thinking.

More recently you moved to LA, I imagine to break into the endless music scene there: what was your experience like early on into that move? Was it difficult, whether in terms of missing home, or due to the challenges of the 'business'? How have you grown accustomed to the setting?

I moved down to LA for college, which I started removing myself from after a semester because I thought I needed to spend my time focusing on what I really want to do. There was a lot of hustling for money for about two years, and I worked for so many tech apps like Uber and GrubHub. Through people who recognized my worth and who I was, I was given great opportunities and thankfully found myself situated where I could set up and actualize Petticoat.

Your music is quite a concoction, if you will, of genres, how did you originally settle on the mixture for your sound? Was it a deliberate process of mining things you liked, or did you arrive at the blend more by happy accident?

My style is mostly just a reflection of what I listen to and what gives me inspiration. From New Wave all the way to noise music, I just kind of incorporate elements that I find intriguing about a scene or genre into one. A song will always start off with a conscious effort, whether in lyrics or sonic recreation, and then I’ll unconsciously pepper it with random synths, sounds that i make from hardware, or just effects that completely change the sound.

Have you always been a fan of the sounds of the 80's, or was it an arena you grew into? What was your earliest exposure to those sounds, perhaps your parents? Who was/were the earliest 80's artists you heavily vibed with?

I grew into the 80s in two portions of my life. I was just a kid when I started listening to that period because everything you listened to was so visceral and new. My dad was really big into INXS, Depeche Mode, New Order, and Tears For Fears. My mom was a lot bigger into pop from the time, like Madonna, Thompson Twins, Cher, and Howard Jones. Not soon after I went to school and was more focused on what other kids were listening to. I started listening to the 80s recently to bring me back into a part of life where I was free of expectations. Where I could be in a phase and be expected to grow out of it. It was this feeling of discovery and exploration that I needed for Petticoat, and it gives me that nostalgic, timeless element that I try to translate into my music.

What exactly was it about those artists/sounds that attracted you?

It was the early synthwork and the expectations of the future that really made me appreciate new wave. I just love the massive industrial drums, the doubled-arena vocals, and the oddity of the stylistic choices. If you really want this exemplified, just listen to Some Great Reward by Depeche Mode front to back.

Who are your greatest R&B influences? Why?

Obviously I’m just attracted to anything that feels like it’s trying to do something beyond time, even if the tools given to them set them back. A lot of producers like Timbaland, The Neptunes, and Swizz Beats have produced incredible records that are drenched in icy synths, futuristic patterns, and sounds were never incorporated in music until them.

I saw “futurism from a sense of nostalgia” among your 'buzz phrases', I always like that idea, thought it seems a tricky tightrope to walk: how do you balance the two seemingly opposing interests?

Easy. What makes something timeless, and therefore futuristic by proxy, is vision and effort. What makes all of these artists I spoke about so timeless is the fact that they didn’t create -- they experimented. Whether with sampling or supersaws, they made something beyond what was expected, and it caused many to follow form. That's why genres exist like Neo-80s or Nu Disco, because the sound created is so distinct and unique that you can apply it with whatever technologies come down the line and still get a variation of it. Now I’m not trying to start a new wave or genre, but by taking inspiration out of these timeless ideas, I hope to make music that can age well into the years and not be so easily defined to a time.

Are there any particularly noteworthy examples of 'retro-futurism' you hold dear that dig into that sort of territory, whether musical or film or so on?

Another form of media that inspires me are video games, most notably the era of the PS1 and Nintendo64. It was that jump in 3D that was eye opening to me when I was just a toddler and my brothers would give me a plugged out controller so I could “play along”. Now they’re all getting remade, like FF7, Crash Bandicoot, and Shenmue, which further proves my point on what makes something timeless. I love ripping the sound effects from my favorite games growing up and scattering them throughout my tracks. Gives them a little texture.

What does InFormat mean to you, exactly? Where did it come from as a title?

The intro track features a sample saying “Start Format It”, so the early demo of that was simply called StartFormat. SInce it kicked off the EP, I thought it would be cool to call the ending track “EndFormat”. I decided to call the whole EP “InFormat” due to the whole theme of the EP being about technology and how we romantically relate to one another now that it's involved in our lives more than ever.

As to 'Greenlight', I read you wanted to record a song that celebrates the freedom of sex work as opposed to the typical concern with which its addressed, can you elaborate on this? I feel like...it's a thorny issue. On the one hand, I agree, it's interesting that a young woman can choose to, say, fund her way through med school by gaining a following posting, shall we say, sensitive content to Reddit and etc, but on the other hand one reads quite a bit about the abusive nature of the actual porn industry, were you more taking on solely the former concept? Did you have any of the darker corners of the concept in mind while writing?

While I definitely agree that the field of sex work can be predatory and sometimes dangerous, I feel that the song is more about individual empowerment rather than the industry of it. It's a simple song with simple lyrics about the process of infatuation with an online cam model. You can perhaps see it as smashing the stigma of sex work, even though it wasn’t an original intention. I mostly wanted to write about it in a positive light because so much of music deals with sex work as terrible and dangerous. From Roxanne by The Police to A-Team by Ed Sheeran, these workers have always been portrayed as a victim in media. But in the end, I think the bare minimum we can do as a society is legitimize the field of sex work along with the legality of it. That way, we can make it safer for people already in the field and cut out the predatory middlemen and gatekeepers.

That being said, on a far lighter note, I was lucky enough to catch a lecture by Brian Eno a number of years ago, he spoke about visiting some porn website and how it could be argued that the apex of human creativity comes out in relation to sexuality, he marveled at the sheer amount of ways we've come up with to, well, get that release.

That’s such a good point! So many different forms of technologies have been created or utilized for sex and getting off. My roomates and I were just talking about how VR headsets have basically found a great usage through pornography, for instance.

I read that you're pretty into video game sounds, have any made the EP? Either way, do you have any particular favorites? I'm not sure if you've played it, but I will never get the sounds of Banjo Kazooie out of my head.

I sample video game sounds a ton on all my music. My goldmines have been the Final Fantasy games and the first Kingdom Hearts. I never played Banjo and Kazooie, but I'll definitely be open to trying it out!

Who would be your dream collab? Why?

Although there are so many people I would love to collab with, I feel like the term “dream collab” should be reserved for the people that have heavily influenced me or just completely out of my reach. That includes Madonna, Dave Gahan, Max Martin, Lil B, Rick Rubin, E-40.

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