Since their inception, Batata Doce has never been easy to pin down, as they seem to draw influence from a variety of sources, creating a sound completely their own. Light and fun yet technically savvy, their music blends punk and garage with something a bit Latin, playing perfectly with Brazilian-born vocalist Leticia Arioli's strong and effortless voice.

Though they gained considerable popularity in their two years in the Atlanta scene, Batata Doce has called it quits this past summer.

We interviewed Batata Doce about 18 months ago, just when their ascent was in full-force. Below is that interview. ake it a moment by listening to their song, "Corda Bamba."

Pine Magazine: You are originally from Florianópolis, Brazil. When did you move the US and what caused you to leave Brazil? What involvement did you have in music there?

Leticia Arioli/Batata Doce: I started playing guitar when I was 14. I had an electric Washburn and I was a great bathroom singer. But it wasn't until I came to the US to travel and learn English (and watch a ton of rock shows) that I started actually performing beyond my four walls. It wasn't until then I started listening to 'traditional" Brazilian music.  It took me leaving my home country to fall in love with its music and to appreciate it.

PM: What would you say the difference between music here in the states and in Brazil and the rest of South America?

LA: The difference is in the traditional sounds of every country. Each country in South America has its "staple" music, a sound that is unique for its roots, such as Salsa in Cuba or Tango in Argentina.

Brazil has a variety of traditional music that constitutes its own genres, such as Samba, Funk Carioca, Sertanejo, -- too many to even list here. And even then there's the Bossa Nova, the "Brazilian Jazz," that has become popular in the US as well.

But beyond traditional Brazilian music, all other genres are just as popular. Electronic music. Rock and roll. Reggae. Music nowadays has become so universal that just about any musician that becomes successful in the northern part of the Americas finds its way down south. My Morning Jacket is known in Brazil... Miley Cyrus too! And the US too has a great international selection at most stores -- especially now with the Internet -- and we can pretty much access any kind of music if you know where to search for it. Some perhaps not the main masses but more people than ever before have become familiar with music from around the world.

PM: How did Batata Doce form?

LA: After the King Congregation broke up, a band that me, Russell Owens and Justin Hughes used to be part of, Russell and I started playing with a fellow named John Ferguson and his Stone House Posse band. Eventually a band was born, L' Tiza and the Stone House Posse, with Brazilian beats and singing combining the bluegrass roots of both John and Russell. We played around town, and eventually we ended up straining from it and creating yet another group, Batata Doce, which started as a duo. Russell played his finger pickin' music style and I sang in Portuguese and played an array of hand percussion.

Our first show was at the much missed ISP space, where we met Justin Sias and Todd Morrison, both whom eventually joined the band. A few weeks later, we recruited ex-Rock*A*Teens member Justin Hughes and the band was then complete. We have recently the pleasure of a new addition, Todd Barnett, our saxophonist!

PM: Can you tell me some about both yours and the other band members' approach to your music?

LA: Starts with Russell, either of the Justins or me bringing a song to the table. We all pull from vastly different influences. Some are just riffs, some are complete ideas, some have lyrics and some have none. I sing along to it. Put words in it, and melodies if needed. Once the structure of the song is solid enough, we bring it back to the table so everyone else can work out their parts. And we play the hell out of it. Then we play live and suck. Then we keep playing and it becomes great! On a side note, Russell is in total control of it all. He is the center of attention. He also just made me write that.

PM: How do you feel Batata Doce fits into the Atlanta music scene?

LA: Something you can't identify or classify. The Atlanta music scene is so diverse, and just about anything can happen over here. Being in a band where most find it hard to describe or categorize is quite an honor and makes me fell that because of it, we fit in! Depending on the niches that we put ourselves in, we can either be understood or misunderstood. And I am ok with that.

PM: Batata Doce hosted the Montezuma Film Festival in Costa Rica last year and is slated to do so again this year. How did that come about and can you tell us a little about the experience?

LA: Fun fun fun!  It was refreshing to play in such a paradise. Music and beach. Eric Panter, the director of events was introduced to our sound last year and then it was all history. They needed a band and we were in need of adventure, so we jumped in the boat (literally) and traveled to Montezuma. I am looking forward to this year's festival.

PM: You guys have been touring the country in a grease powered bus. How do you get your grease on the road and given the high price of fuel right now?  And do you feel it has helped you save money as a touring act?

LA: Absolutely. I don't believe we'd be able to do it otherwise. And these guys (Justin Sias’ band Elevado) have been doing it for many years, before all of the gas crisis. Batata Doce is just lucky to have inherited the rights to travel on it. We get grease from restaurants and bars and just about anyplace that needs to 'dump' their oil somewhere. So far it has been a mutual exchange -- one needs to get rid of it, the other needs to get it.

PM: Anything I haven't asked yet I should?

LA: Maybe influences? They change on a monthly basis. And for weeks sometimes I go without music, believe it or not, and I try to pick up from the silence something that is unique and that I have no idea where it’s coming from. I like not knowing where it comes from.  I do have to say that by the time we started putting our ideas together to create this band, I was listening to a lot of Os Mutantes, Gal Costa, Jorge Ben and all the psychedelic sounds that came out of Brazil in the 60's and the 70's. Cesaria Evora from Cape Verde, Ruth Brown and Tina (Ike and Tina) were also a great source of inspiration, and I want to say that their singing shapes mine but that may be a real stretch!