Is G Perico really about what he raps? I don't know for sure, but I can say this: after we met, it was somewhat difficult to get the interview started because of his repeated apologies for having stepped on my shoes as we shook hands. Very real imo.

Around the corner from Denver's Larimer Lounge (coincidentally the venue that's hosted the last three artists I've interviewed here), there's a funny little bench (hidden behind the van here, but I tried) that gives the impression of an old-school talk show set - it's really wide, but with two distinct seats that are slightly turned to face each other. It's there that I had the below chat with Meghan Remy, perhaps better known as the frontwoman of U.S. Girls.

This was one of the more enjoyable interviews that I've done, in that it felt more like provoking reminiscences from my grandfather than any sort of formal discussion. No disrespect intended, as 808 State is absolutely legendary; it just so happens that legends tend to be pretty old. Anyway, preparation for this interview basically kicked off my obsession with early 90's electronic music, and for good reason - 808 State defined the era, pioneering acid house and shaping the sound of the scene when it was more about dancing than whatever caused the mid-decade shift to the unfortunately-titled intelligent dance music period.

This was a lot of fun. The Pharcyde (currently composed of founding members Imani and Bootie Brown) doesn't do too much touring anymore, but in mid-November a local radio station booked them for two straight nights at Ophelia's Electric Soapbox, which appeared to be some sort of combination concert venue and dinner theatre. It's always incredibly nice to find out that your favorite goofy rap legends are exactly how you would expect in person, a fact underscored by the apparent requirement that at least one of Imani or Bootie be dancing to the venue's background music at all times.

When I met Skooly, he was pretty heated about some clothing. He was doing an in-store appearance at some Complex.com-ass store in Denver, and he flatly refused to be compensated in anything bearing the store brand's logo. Jacket only, that jacket's the swaggiest thing in here! he said, referring to the one available item lacking a gaudy logo.

I don't have much to say about this beyond what prefaced the first part, but it did occur to me that I should share a small, otherwise unpublished segment of the conversation so that you could read the entire interview in Jenny's voice if you so chose. Here it is. This is the second and final part of the interview, which immediately followed the end of the first.

I've spent almost my entire life on the internet - playing online chess and flash games as a child, whiling away social and geographical isolation in my adolescence, and reading articles at a succession of bizarre computer-focused nothing-jobs after college. The anthropology thereof is the only academic field in which I am truly interested, and to which I can't shake the urge to start contributing.

This interview almost didn't happen, by which I mean that I almost didn't strike up a conversation with Octo Octa after seeing her in a pizza shop and ask if we could do an interview later on. A neat thing about festivals, which actually happens almost as much as marketing materials would have you believe, is the unplanned discovery of new acts in the downtime between the ones you're there for. The young lord Mitch Hatch had just sold me on catching Octo Octa's set a little later on when she walked into Pie Pushers and sat down right beside us.

My interview with Colleen was something of a heat check. I'd just come off three straight interview experiences very close to my platonic ideal (all of which have since been published: Matana Roberts, Stephin Merritt, and the Laetitia Sadier interview from the 6/8 issue). In all the excitement, I'd more-or-less forgotten to prepare anything for Colleen, lesser-known as Cécile Schott (besides a lot of listening to her wonderful 2015 album Captain of None).