WHIB: INTERVIEW

February 20, 2026

by martina rexrode

K-Pop groups face a certain level of reinvention within every new release and every new concept they apply to their music. WHIB, a seven-member boy group consisting of KIM JUNMIN, HASEUNG, JINBEOM, UGEON, LEEJEONG, JAEHA, and WONJUN, are reinventing themselves with their first mini-album ROCK THE NATION in an unapologetically powerful — and loud — way. We spoke to the group about this project, its title track, and what they hope their future looks like.

How does it feel to release your first mini-album after over two years of releasing just one or two tracks at a time? In what ways did the process of creating this mini-album differ from those previous releases?

HASEUNG: “I loved that we could tell even more stories compared to our single album, and it felt great to be able to show everyone how much of our sincerity we poured into this release.”

WONJUN: “I felt that we had to show something different this time. That’s why I think I put a lot of intensity and energy into it from the very beginning of the preparation process. Thanks to that, I believe we were able to create a great album!!”

How would you describe “ROCK THE NATION” to someone who hasn’t heard it yet?

KIM JUNMIN: “I would like to say that I’d be very grateful if you enjoy the song along with the music video or our performance.”

LEEJUNG: “Just as the saying goes, ‘Even a worm will turn when trodden upon,’ we, WHIB, will not quietly disappear or be ignored. This stage embodies our determination to keep dancing until our bodies break.”

If you had to pick a b-side from this mini-album as your current favorite, which would it be and why?

JINBEOM: “My favorite is the first track, ‘WHO’S THE NEXT,’ because the whirlwind of beats and the intense flow really help me wake up in the morning.”

JAEHA: “It’s ‘WHO’S THE NEXT’ for me as well, because my favorite part of the entire album is actually my own part in this specific song.”

How has the group grown in the time between April 2025, with the release of “BANG OUT,” and now? In what ways do you hope to grow this year?

UGEON: “While our overall skills have improved, I believe the biggest area of growth is that we can now enjoy the stage with much more ease and composure than before. This year, I want to further solidify WHIB’s unique color and continue striving to enhance the quality of our performances.”

KIM JUNMIN: “Personally, I think all the members have improved significantly in terms of their focus and natural presence on stage. This year, I hope it will be a year where we can further refine and showcase each member’s individual personality through even more performances.”

When you think back to your debut, what do you hope “ROCK THE NATION” and the mini-album as a whole allows WHIB to accomplish?

HASEUNG: “Since this is the first album that showcases the color WHIB has found, I hope and feel that it marks the beginning of a brand-new chapter for us.”

JINBEOM: “This album holds a truly different meaning compared to our debut. We are now gradually breaking away from our inexperienced selves and are forging our own weapons to achieve our goals. I hope those weapons result in us proving ourselves to the listeners.”

What does the future look like for WHIB in each of your eyes?

KIM JUNMIN: “I definitely want to stand on a grand stage.”

HASEUNG: “I imagine us having a strong sense of pride in our music and our performances.”

JINBEOM: “I hope we will be by each other’s side, laughing out loud together.”

UGEON: “I hope we will become a WHIB that gives a positive influence to many people.”

LEEJUNG: “I hope we become a team that is ultimately recognized by people — a team that brings the word ‘persistence’ to mind.”

JAEHA: “I hope we will be smiling and sharing happy moments together.”

WONJUN: “I hope we will be in a position where we can create and put on fun, exciting performances.”

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SPENCER BANDY: INTERVIEW

February 14, 2026

by kaleigh gieraltowski

Nashville country artist Spencer Bandy is on the horizon, with new music on the way and an array of upcoming projects. We got the chance to talk with him about the depth of his songwriting process and how one honest thought can transform into a meaningful song. His approach to storytelling is sure to set him apart from other artists and place him in the spotlight as someone who is truly authentic to his work. If you love listening to a deep ballad or an emotional, authentic story, this is an artist you’ll want to pick up and listen to. Whether he’s creating in a writers workshop or playing his guitar alone, Bandy is a promising artist sure to leave a lasting mark on listeners.

Congratulations on your new single, “Losing Me,” out February 20th. Can you walk me through how this song came to be?

Spencer: “‘Losing Me’ started as a really honest conversation I was having with myself. I was in one of those seasons where you look around and realize you’ve been pouring so much energy into other people, other expectations, other versions of yourself... and somewhere in there, you’ve gone missing. The first line came pretty quickly, and once that door opened, the whole song followed. The writing process felt natural. It was more than just a regular write I usually have, it felt like something I needed to admit out loud.”

Do you write most of your music on your own, or do you collaborate with others as well? What does your process look like when you do bring someone else into the room?

Spencer: “Most of the songs I write or wrote are all done by me alone, but I do a little bit of both. A lot of songs start alone with a guitar and a voice memo because that’s all I have with me when ideas arrive. I love collaboration too. Getting to hear other people's perspectives can take a song somewhere you never would’ve gone on your own. When I bring someone else into the room, it usually starts with a melody or a feeling instead of a polished idea. I’m not precious about it. We talk, drink too much coffee, maybe complain about our lives for a bit, and eventually a line pops out that feels like the truth. That’s usually the spark.”

Your music leans into a country-folk sound. Was that always the direction you envisioned for yourself, or did you experiment with other styles before landing where you are now?

Spencer: “I definitely experimented. Like most people, I had a phase where I thought I was going to be a pop star, then an indie rocker, a rapper, then something else entirely. But I kept coming back to the songs that felt the most natural and authentic to me. That country-folk space just felt the most honest to who I am as a writer and a person. In a way it was a strategic decision to switch genres and find my sound but the other half was more like realizing, ‘Oh, this is the sound that feels like my authentic self.’”

You currently live in Nashville — how does being there, and the environment you’re surrounded by, influence your songwriting? Are there other places you find yourself going to for inspiration?

Spencer: “Coming to Nashville for the first time was a pretty eye-opening experience for me. There’s this energy here where everyone’s hungry to win, but it’s not cutthroat — it feels like a real community. It’s more than just a city; it’s a place that kind of has open arms for musicians, especially songwriters. When I came to Belmont to study music business, I realized pretty quickly that the people here and the songwriting culture were where I felt most accepted in the industry. That sense of community definitely shows up in my writing. You’re constantly surrounded by people who care about the craft, and it pushes you to be more honest and more intentional with your songs. That said, I still love going back home to Detroit. There’s something about being there that grounds me and reminds me where I came from. Between Detroit and Nashville, I feel like I get the best of both worlds. And honestly, some of the people I’ve met here in Nashville have become some of my closest friends, which makes the whole experience even more meaningful.”

What is your relationship with performing music live? Do you think about how what you’re writing will come across to an audience while you’re creating it, or is that more of an afterthought?

Spencer: “I haven’t done a full band show yet, but I’ve been doing a lot of writers rounds, which has been really special in its own way. Those rooms are usually pretty intimate, so the focus is really on the lyrics and the story. It’s a great way to test songs and see what lines people lean into or react to. As far as writing, I try not to overthink the live aspect too much. I want the song to be honest first, and then I figure out how it’ll translate on stage later. My plan is to start doing more full shows once the full project is out, so people can really experience the songs the way they were meant to be heard. I’m excited for that next step.”

Is “Losing Me” part of a bigger project you’re working toward? If so, does it follow an overall theme or album concept, or does it stand more as a one-off release?

Spencer: “‘Losing Me’ is definitely part of a bigger body of work. The songs I’ve been writing lately all live in a similar emotional world, and a lot of influence for it has come from the people I've met and the music scene here in Nashville. I wouldn’t say it’s a strict concept record, but there’s a clear thread running through the songs.”

Which artists have you been pulling inspiration from recently, or what have you been listening to lately?

Spencer: “I have been on an EXTREME Joshua Slone kick. His debut album that he released this past year has inspired me in the best way possible. I also love listening to Marvin Gaye, Al Green, and Marcus King. The soul/blues music always inspired me because that's what i grew up on and somehow my playlist always leads back to those artists.”

If you only had one chance to introduce someone new to your music, which song would you choose, and why?

Spencer: “Right now, I’d probably choose ‘Losing Me.’ It feels like a really honest snapshot of where I am as a writer and a person. It’s vulnerable without being overly dramatic, and it lives right in that country-folk lane that feels most natural to me.”

Why should people listen to your music, and what exciting things do you have coming up next?

Spencer: “I don’t know if anyone should listen to my music, but if you like songs that are honest, a little stripped back, and probably written a little too late at night, you might find something in there for yourself. As for what’s next, ‘Losing Me’ is just the beginning. There’s plenty more music on the way, more shows, and a lot more collaboration, which is my favorite part of the whole thing.”

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LILY FORTE FINDS BEAUTY IN THE STRUGGLE ON DEBUT ALBUM "DON'T GILD THE LILY"

February 13, 2026

by benwego

Indie powerhouse Lily Forte arrives with her debut album, Don’t Gild the Lily, a clever play on words that intertwines her name with the idea of leaving beauty unaltered and honest. The title immediately establishes the album’s ethos, signaling a body of work rooted in authenticity, patience, and a deep reverence for what already exists beneath the surface rather than forcing excess or perfection.

Across the album, Forte leans into lush floral and picturesque imagery, pairing it with invigorating vocals to build a vintage sonic landscape that pays homage to her musical heroes. She paints with the brush of Old Hollywood glamour, sun faded nostalgia, and diaristic lyricism, creating a world that feels both cinematic and intimately confessional. With just 11 songs, Don’t Gild the Lily offers an impressive amount to unpack, from its striking instrumentals to its California soaked imagery. Each track unfolds like a postcard from another time while remaining firmly grounded in the emotional realities of the present.

The title track opens with the line “there’s living in dying, there’s pleasure in pain,” immediately introducing one of the album’s central themes. The lyric captures the emotional duality that runs throughout the record, the idea that growth and artistry are inseparable from struggle and sacrifice. By acknowledging that joy and suffering coexist, Forte sets the tone for an album that refuses to romanticize the road to success without first confronting its cost. As the song unfolds, its airy falsetto chorus gives way to a jazzy, Amy Winehouse inspired groove where Forte asserts her self worth with the line “and that’s living like a legend,” reframing perseverance itself as an act of triumph. The moment feels both defiant and self affirming, positioning the record as a declaration of identity and a promise to endure whatever it takes to keep creating.

The album exists in a time machine space, unfolding as a nostalgic yet restless journey shaped by early Lana Del Rey and Lady Gaga inspired wordplay, 60s glamour, and the quiet anxiety of waiting for your moment to arrive. Forte consistently grapples with questions of time, ambition, and survival, particularly on “Stardust.” Here, she reflects on the slow burn of chasing a dream, candidly admitting that “working for the man was never really in my plan,” a line that captures both her defiance and her uncertainty about how long success is supposed to take.

At its core, “Stardust” feels deeply personal, capturing the suspended emotional state of waiting for a breakthrough while clinging tightly to self belief. Lyrics like “fucking up the routine, Florida to LA, is it home or holiday?” expose her internal tug of war between the place that raised her and the place she hopes will transform her. Florida represents familiarity, while Los Angeles embodies ambition, and Forte never pretends the choice between them is simple. Instead, she questions what home really means when the pursuit of becoming someone new pulls you further away from who you once were.

That sense of longing intensifies on “Florida’s Finest,” an existential love letter to youth, roots, and a world before streams and algorithms. When Forte sings “I miss iTunes,” the line lands as more than a throwaway reference. It becomes a symbol of an era when music discovery felt more personal and less transactional. Florida becomes both a physical landscape and a state of mind, sun soaked, bittersweet, and formative. The chorus, “oh the world keeps on turning, that’s the way life goes, it’s a lesson I’m learning, no one ever really knows,” stands out as one of the album’s most emotionally gripping moments, encapsulating the uncertainty that runs throughout the record. Forte continues paying homage to the artists who shaped her worldview, singing “learning from the visionaries, pay them for what they know,” a direct nod to Old Hollywood and the creatives she reveres, positioning herself as both a student and a torchbearer.

As the album drifts west, California sunshine and Ventura Highway imagery take center stage. “Golden Sunshine” is a warm, sun drenched ode to an almost ethereal love, capturing a cloud nine feeling through its euphoric simplicity and emotional realism. Lines like “you said I was your golden sunshine, be my forever and you’ll be mine” channel early Lana Del Rey in both tone and tenderness, balancing romance with emotional fragility.

“Loners on the West” moves fluidly through multiple emotional and sonic landscapes, grounding itself in cinematic melancholy and isolation. A nod to Lana at the opening sets the mood as Forte reflects on the disorienting nature of Hollywood, asking, “this city is strange, with its lowlifes and fame, why does everyone here love to play the game?” The question lingers, revealing both her fascination with and skepticism toward the industry she is trying to make a name in.

Misogyny emerges as another recurring theme on “Loners on the West,” particularly in the biting frustration of the lines, “I’m so sick of fucking wanting what I can’t have, so sick of always wasting time, I see the guys and their perfect lives.” Forte confronts the imbalance she observes around her, where opportunity often seems effortlessly handed to others. This theme continues on the first single from the album “Miles to Go,” a track dedicated to toxic male figures and the exhaustion of shrinking oneself to fit into their worlds. Forte bluntly declares that staying quiet never served her, confessing, “I got a million things I’d rather be doing than hanging with you and your boys on the road.” Her delivery sharpens further with unapologetic jabs like, “you’re so trashy when you’re doing blow, met your match in the pills in those Hollywood hills,” blending both anger and wit.

“Jimi and Janis,” retreats into an imagined inner universe where 70s rock still reigns. It is a place of freedom, rebellion, and eternal music, untouched by modern pressures. When Forte sings, “Jimi and Janis are alive inside my planet, jammin out to Woodstock in my mind,” she creates a vivid psychedelic escape.

The album’s second single, “Out of the Blue,” delivers one of its most emotionally jarring moments, confronting betrayal and hard truths with biting honesty. “Hope you’re sipping something strong when you find out the problem’s you,” Forte sings, addressing a breakup that arrived without warning. The song balances hurt with disbelief, its tongue in cheek delivery cutting deeper as she asks, “baby what the fuck was that? Did you find Jesus on the road? Was it in something that you smoked? And honey who the fuck are you?”

The track flows seamlessly into “The Luckiest,” a dreamy, melancholic reflection that feels like the emotional aftermath. Forte asks her former lover, “did you forget I’m the luckiest damn girl in the world?” while subtly pushing him toward the life he chose over her. Lines like “casting their spell, they got you baby, can’t look at yourself” carry a haunting sense of resignation. Together, these tracks feel sisterly in their message yet contrasting in delivery. This emotional trilogy closes with “Baby Burnt Us Down,” a final moment of romantic isolation and reluctant acceptance as Forte reflects, “baby thinks there’s bigger plans than being the drummer in my rocking band,” acknowledging the quiet heartbreak of being left behind.

The album closes where it began, circling back to themes of living and dying on “Beauty in Everything.” Forte admits, “it’s hard to see the beauty in everything, but I’m really trying, I’m living and dying,” finding solace in the small and sacred, singing, “I found my heaven in my record collection.” The song functions as a profound ballad about resilience and burnout, capturing the emotional toll of chasing a dream when it feels like no one is listening. Lines like “no one really cares why I sing the blues” and “mascara’s coming down, baby I lost my crown, burnout like a showgirl” lay bare the singer-songwriter’s vulnerability. The record ends on a note that feels both intimate and universal, like flipping through memories on vinyl and realizing they are still spinning the story of who you are becoming.

Don’t Gild the Lily is a promising debut that captures the struggles of an artist navigating Hollywood through a nostalgic lens while wrestling with the weight of uncertainty about what lies ahead. It is a record that honors the past without being trapped by it. Through nostalgia and vulnerability, the record captures the emotional push and pull of chasing a dream while still learning how to survive within it.

ARI LEE: INTERVIEW

February 10, 2026

by martina rexrode

Vulnerability is one of the bravest emotions an artist can show. Whether it be through music, dance, visual art, or other mediums, onlookers are often able to sink their teeth more into art that reveals something about the artist and, ultimately, themselves. On ARI LEE’s latest single “Someone For You,” the artist bares her soul to listeners after two previous singles that leaned more into the juxtaposition of brighter sounds expressing pain. This time around, there’s no sugar coating. ARI LEE spoke to Unclear about this single, how it ties into her Trophy Wife In Training EP, and her biggest goals for the year.

Congratulations on your new single, “Someone For You!” How does it feel to have this song out in the world?

ARI LEE: “Thank you! Honestly, it feels quite scary because this is definitely a more vulnerable part of my artist project.”

What does this song mean to you? Are there any specific images it evokes when you think of it?

ARI LEE: “This song is quite complex because it’s about family. The images that really stuck out to me when writing this song were family portraits — you see them throughout history of different families and in people’s houses. When I see family portraits, I always wonder what each person in the photo’s story is, what was happening in that very moment, what the dynamics are, who’s the black sheep, etc.”

How do you think listeners might interpret the lyrics of “Someone For You” to fit their own experiences?

ARI LEE: “While I wrote this from a place of wanting my family’s validation, the lyrics don’t make it too obvious at the outset that that’s what it’s about. Most people I’ve played it for think that I'm talking about a romantic relationship. But that’s the beauty of art and how it can mean different things depending on one’s own experience.”

Do you have a favorite set of lyrics from this song? Why do they speak to you?

ARI LEE: “‘If I climbed all of your mountains would you change your mind’ in the first verse. To me it’s a simple lyric that I’ve always thought about. What would it take to prove yourself to someone? What’s the bar and why am I so desperate to reach it?”

What made you decide to release “Cruel Lover,” “The Kissing Girl,” and “Someone For You” in this order?

ARI LEE: “The throughline of all of these singles is that they’re my realization that a lot of the negative feelings and situations I’ve felt — whether it be being lost in a person, an idea, or external expectations — are all kind of my own doing. I don’t want to play the blame game. The only way forward is for me to make changes. I feel like these songs communicate this introspective phase that my artist project character is in after escaping Stepford in my EP Trophy Wife In Training.”

What kind of identity do you hope to project as an artist this year? Is there anything you want to do differently or similarly than previous years?

ARI LEE: “This year, I want to play in the grey area more. Luckily, I’m in a place in my career where I have complete creative freedom, and I want to push myself sonically, lyrically, thematically, and physically. Life is not so black and white and I want to explore the nuances of the subjects I wrote about in 2025.”

If you could name three of your biggest creative goals, what would they be?

ARI LEE: “It’s my absolute dream to do a performance video where I incorporate choreography since I grew up dancing. And when the time is right, a second goal of mine is to make an album — I love storytelling and I feel like an album would enable me to tell a fully fleshed out narrative through music, start to finish. I’d also love to go on tour so that I can meet more people from my community and expand it.”

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ONE OR EIGHT: INTERVIEW

February 5, 2026

by martina rexrode

Releasing new music at the start of a new year is no easy feat. For ONE OR EIGHT, a Japanese boy group who first debuted in 2024, they knew they had to kick 2026 off with a bang. With a mini-album, GATHER, recently released and their first global tour beginning in March, the group’s near future is bright, making the more distant future that more exciting. Unclear sat down with ONE OR EIGHT to discuss their single “POWER,” the mini-album, and what’s to come as 2026 unfolds.

You kicked off 2026 by releasing your electrifying single “POWER” on January 7th. Why do you feel this was the right single to drop first this year?

TSUBASA: “This song ‘POWER,’ it was chosen as the ending song for the anime Yoroi Shinden Samurai Troopers, and so we wanted to match the timing with the anime release, so that’s reason number one. The other reason is that, as the name suggests, we literally wanted to kick off the new year with a very powerful song and a very powerful sound, so that’s the reason we started with ‘POWER.’”

How does “POWER” elevate your musical identity after the success of previous singles like “KAWASAKI” and “DSTM?”

MIZUKI: “When we look back from our debut or even before that, we have built a lot of experiences and regrets, all of which have helped us grow and develop as artists and as human beings as well. Through that, we think we have been able to acquire a lot of power and a lot of strength, so I think that this song being released will help us identify that side of ourselves.”

“POWER” is just one of eight tracks on your mini-album, GATHER. How are you feeling now that you’re less than two weeks out from the release of this project and how have you been preparing?

NEO: “We’re feeling anxious and very excited at the same time. We’re going to have this mini-album release, but also we’re going on tour this year, so we have these two big events coming up. We definitely want to make sure a lot of people come and visit us on tour. At the same time, we want to make sure our album, GATHER, appeals to a big audience, so yeah, we’re excited and anxious.”

“TOKYO DRIFT” starts the mini-album off on an explosive note. What was the energy like in the studio when you were recording this track?

RYOTA: “For ‘TOKYO DRIFT,’ we were super motivated. For 2026, obviously we want to appeal to the global audience as we have been doing so far, but also really want to focus on our market that is within Japan. We’re super pumped and full of momentum. As you know, ‘TOKYO DRIFT’ is the sampling of the iconic song ‘Tokyo Drift’ by Teriyaki Boyz that everyone is familiar with from the Fast & Furious movie. This track is our version in which we wanted to unleash our color and our uniqueness so that all the fans and listeners can feel our motivation and commitment. There was a lot of energy in the studio, the production process, and in creating the music video as well.”

What went through your mind the first time you heard the demo for “TOKYO DRIFT?”

REIA: “Initially, ‘TOKYO DRIFT’ was scheduled for the four rap members and was originally all about rap. I personally really like the Wild Speed movies, so I was a bit envious and was hoping that the vocal members would be involved as well. When we learned that we were actually going to be included and that all eight of us would be able to perform this song, I was just so happy and am really honored to be able to sample this song.”

What’s it like to look at the tracklist of GATHER and see all of your singles in one place for fans to listen to alongside two new singles?

RYOTA: “This album is packed with these eight songs. It’s basically showing our trajectory from our debut — all the experiences and the learnings that we’ve had. There’s very distinctive emotions in each of the songs, so I really hope that listeners can appreciate that and really feel that from us.”

The excitement for ONE OR EIGHT in 2026 doesn’t end with this mini-album; you’re also heading out on a North and South America tour in the spring. Can you tell us anything about this tour to hold fans over until then?

MIZUKI: “We are starting off this tour in March in Japan. On our previous tour, called SHŪKAI, we visited various areas around the world and I was so happy to meet so many of the 1DERZ. This new tour is a great opportunity for us to showcase the new challenges that we’ll be continuing to face, so for that I’m really excited. Obviously for this new tour, we’re going to visit new locations that we weren’t able to with SHŪKAI. Unfortunately, I can’t disclose the details like where and when we’ll visit each market, so I’m sorry that I might be keeping some of the 1DERZ anxious, but we really hope that you guys stay tuned.”

What song(s) are each of you most excited to perform for 1DERZ who will be seeing you live for the first time?

TAKERU: “Personally, since we haven’t been able to perform ‘TOKYO DRIFT’ in front of an audience yet, that’s the one I’m really excited to perform on tour.”

With the second anniversary of your debut approaching later this summer, what are some of your fondest memories of your career so far?

REIA: “I have to say the shooting of the ‘365’ music video because, up until that point, we had been really showcasing our dance skills and performance strengths. This music video was shot in the US, outside of our homeland, and we were actually non-directed to be ourselves, so it wasn’t formatted at all. We were able to be very casual and the way we normally are. Through this shooting, I was able to learn about the members and create a stronger bond in that sense, so that’s been one of the highlights.”

What are you looking forward to most in 2026 and beyond?

TSUBASA: “Last year, when we had the SHŪKAI finale in Zepp Haneda, we unfortunately were unable to pack the venue, which was really disappointing and a really regretful experience for us. If we do have the opportunity to perform at Zepp again this year, we really want to make sure we pack it with our fans. Before we can do that, we know we have to work on our presence on the SNS platform and be more active with our live performances, so we’ll be working on that to achieve that goal this year.”

Do you have anything else to share with fans?

MIZUKI: “Listen to ‘TOKYO DRIFT!’”

TSUBASA: “And don’t forget ‘POWER’ too.”

RYOTA: “We were fortunate enough to be very active overseas last year, and we had so many things to learn from, so I like to say that we have evolved. Look forward to seeing the new and improved ONE OR EIGHT this year.”

Full ticket information for ONE OR EIGHT’s North and South America tour can be found here.

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