After college in Santa Barbara, and performing many solo gigs of original music in coffee shops and restaurants in the area, Jessica Peters could take no more of the girlie-folk life. She took a year off to stay at home and reemerge, somewhere between Portishead and Sparklehorse. She sat on the floor and tinkered with her 4 track, an ancient effects rack, and a Nord lead keyboard and came up with a vibe she could dream to. After playing the tapes for Tad Wagner (engineer/guitarist for Buellton), he agreed to take on the project as co-producer/recordist and they spent a year at Buonapasta studios simply and wondrously building an album. Jessica played layers of keyboard sounds while Tad covered guitars and the computer. Her vocals are often dry and mid-rangey, glazing over the music and falling naturally into a softly-designed space. They enlisted friends with talent to play whatever was needed, mostly drums (Andrew Giakumakis) and bass (Bruce Winter), and were pleasantly pleased with the outcome: a dreamy, lo-fi, intimate, electric, organic little album.

As for the name, Petracovich, it comes from her great-grandfather, Abraham Petracovich, who came to America from Russia when he was 11, and didn't bring much with him but a few languages and an almost religious respect for music. On Saturday mornings no one was allowed to make a sound because he would be sitting in a chair, bathed and hair combed back, in his best suit and cuff links, listening to the New York Opera on the radio. He said that they couldn't do that in Russia.