BatiBatt opens up about her evolution from underground performer to versatile vocalist, exploring vulnerability, extreme vocals, storytelling, creative worlds, authenticity, and the darker depths shaping her music.
1. Your
journey into music began unexpectedly, after appearing as Alice in Lo Key’s
“GUTTA” video. What was it about that experience that made you realize you
wanted to become a vocalist?
I actually
started in the underground music industry when I was 18, and I always loved the
creative environment; I was just never allowed to excel beyond being eye candy.
Working with Loke is like working with the Paul Heyman of music he's always
coming up with crazy ideas for himself and those around him. The most notable
moment that made me want to start making music was when we were in the car
while he was talking to a friend of his, another insanely talented independent
musician. They were going back and forth so enthusiastically about their ideas
that it made me sit back and think, "Man, I want that." So, Loke gave
me a chance, and we discovered I could scream without hurting myself.
2. You
entered the music world without a traditional musical background and signed to
LOKE Records in 2021. What was it like suddenly finding yourself with a record
and a professional musical career?
It was a
crazy, fulfilling achievement. I came up in my scene mainly being known for my
image, so the people who have been following me since that time cheered me on.
I think they were even more excited than I was, and that was way more
gratifying. .
3.
Virago introduced a raw, aggressive sound built around trap metal, industrial
textures, horror imagery, and psychological turmoil. What were you trying to
express through that first record?
I was just
such an angry person at that time. I wanted to be so cool and edgy but now it's
so cringe to me. It had a little bit of emotion behind it but I was just trying
to create stories on instrumentals to get them out. So the emotions of anger
and hatred were there but it was not thought out. My mind was tangled back
then, and it bled directly into the work.
4. Your
voice can move from soft, hypnotic melodies to extreme metal screams within the
same song. How did you develop this vocal identity, and when did you realize
these two extremes could coexist naturally?
I love
doing harsh vocals they're my first love and something I always try to
incorporate but sometimes a track just needs those soft, clean, vulnerable
lines. I'm completely self-taught, so every session at the mic is an
experiment. Fortunately, having a home and mobile studio setup gives me the
freedom to take my time and test different ideas. I’ve always loved ghostly,
delicate vocals, especially when paired with heavy elements. "Beauty in
Chaos" is exactly what I strive to bring to everything I create.
5. Fall
From Grace marked a major evolution by introducing clean singing, particularly
on “Better Off Dead.” What made you decide to reveal this more vulnerable and
melodic side of yourself?
After
completing Virago, and though those who have listened love it, I felt I didn't
do very well and had to prove myself more. A lot of people kept noting that
they were not able to understand what I was saying, and yes, I was a baby-lung
screamer at this point, so enunciating my words was difficult for me. I went
through my anger, and now what lies underneath is sadness. One day I found the
instrumental for "Better Off Dead" and just started writing to it.
Knowing it was definitely for clean-style vocals, it just came to me and I
wrote that hook in 30 seconds. Lo and behold, we learned after quite a few
attempts that I can find notes.
6. You
recorded Fall From Grace while traveling through deserts, forests, canyons, and
mountains. How did those environments and your nomadic lifestyle influence the
songwriting and atmosphere of the album?
RV life was
awesome. Being isolated in nature without anyone around was very liberating.
You could be as loud as you wanted and didn't have to think about disturbing
your neighbors. Waking up with your partner and dog in the mountains of Oregon
or the deserts of the Southwest just gave us life. It had its struggles, of
course, but there were no limitations on recording out there. Nothing beat the
dopamine hit when you opened your eyes and took the dog out in the morning,
seeing what looked like a painting instead of the shitty, annoying neighbor you
fake-smile at every day.
7. Wrath
tells the story of a witch who is burned alive and returns for revenge. What
does this character represent for you, and how did her story shape the music?
"Wrath"
was supposed to be my redemption for "Virago." I felt more confident
on the microphone and in my writing. At that time, Whitechapel had just dropped
"Hymns in Dissonance," my dog had unfortunately passed away, and I was
a wreck. I was in a very dark headspace and needed to try to flush it out, so I
wanted to write in detail about burning alive.
I bring up
Whitechapel dropping their new song because I love the way Phil writes: raw,
disgusting, and detailed. He tells amazing stories. It was a big inspiration to
go back to harder stuff after "Fall from Grace" being on the softer
side; I had and still have a chip on my shoulder. I wanted to test my abilities
in exploring gutturals, as well as where I struggle a lot: highs.
There was a
period in time when I felt like I was a witch being falsely accused by everyone
because one person pointed their finger, lied, and got the whole
"town" against me. It fucked me up for a bit, and I hid. But now, I
don't give a fuck. I'm not hiding anymore; I'm still here, and those same
people learned the truth and now want my favor.
8.
Themes of self-love, personal boundaries, revenge, and emotional resilience
appear throughout your work. How do you transform personal experiences and
difficult emotions into something powerful through music?
I was such
a pushover for a big part of my life. I let people walk all over me. I am
terrible with words, and I feel emotion at a very high level. Loke taught me to
always keep my writing vague and interpretive to whoever is listening. Some
people don't know how to express feelings, and so many people are told they're
too much when they do, so they lock it away. I do. I try to bring each emotion
to a physical point. Bringing it to life and telling whoever is listening,
"Hey man, I want to scream all the time, but I feel like my mouth is
stitched shut, too," as a simple example, can help someone feel valid
while others around them make them feel inadequate.
9.
Beyond your solo work, you are part of AlkaRythm and Neon Sermon, two projects
with very different identities and concepts. How does your creative approach
change when you step into these worlds?
This is where I have to dig into storytelling mode. Loke is a master at that. He is so creative in world and character-building, so these projects are a little more challenging. Neon Sermon is great because I am in my vocal element and just kinda hyping my dudes on. Krux is a maniac; his flow is incredible, and he thinks of shit I never would. He and Loke together on this project is magic they feed off each other so well, and I'm just their cheerleader.
AlkaRythm
allows me to be more in my element of emotional writing, but I have to help
guide the listeners through the world-building. So, it takes me a little more
time to come up with songs.
10.
AlkaRythm describes its sound as “post-apocalyptic dictatorship-core,” while
Neon Sermon explores an alien-invasion narrative. How important are visual
storytelling, characters, and world-building to your music?
Neon Sermon
is much more relaxed because it's supposed to be a fun, party-based project. We
had masks created for it and used a specific brand for the clothing, but I feel
those can be tweaked, whereas Alkarythm is very strict regarding its image.
We take a
lot of inspiration from dystopian visuals and cinema. I think many people share
that fear, no matter what 'side' they're on. We stay out of politics, but when
we started this project, we had a lot of emotions and feelings about everything
that was going on. Instead of going on Facebook and writing a speculative novel
that just brings drama, we prefer to channel that into cool beats, haha.
11. You
also host weekly live shows on Twitch, creating a direct and interactive
connection with your audience. What have you learned from that experience about
authenticity, community, and being yourself in public?
I have
learned that gaming is a safe space for me to interact with others. There is a
fun, distracting split of focus going on. If I did "Just Chatting" on
Twitch, I'd fumble. With games, it's easier to connect because we're not just
sitting there asking what hobbies people have or what their favorite color is
we're usually laughing and being silly, which allows my guard to come down.
I'm very
shy, but as I've entered my 30s, the quotes "I'm not here to impress
anyone" and "Well, if they don't like me for my true self, then
they're not meant to be here" have become mantras. I used to hide myself;
I tried to play a "streamer character" when I started on Twitch, but
it was so fake that it exhausted me and felt cringey.
I found my
group of weirdos who are just like me, and they are ride-or-dies they're always
there for me. Those I had to create a persona around simply don't come around
anymore. Being authentic and unapologetically yourself is the best thing to do,
and it's far less stressful.
12. With
your solo catalog, multiple groups, live shows, and commissioned work—including
your 2026 entrance theme for wrestler Mike Skyros—what is the next chapter for
BatiBatt, and what would you still like to challenge yourself to create?
My next
challenge will be a more extreme vocal range and darker storytelling songs.
Really digging down into the darkness I feel I have a hold on and can call to
the surface when I need it without causing me to spiral. I am working with one
of my favorite producers and have quite a few instrumentals to work on. It does
suck not having a band, but it's also nice because it's all me. Who
knows, though? Maybe one day.
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