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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NORA.: INTERVIEW

February 2, 2026

by kristen case

With a sound that feels both luminous and grounded, NORA. creates music that lingers. Blending indie-pop textures with subtle country warmth, she writes with a rawness that mirrors the uncertainty, tenderness, and exhilaration of growing up. Just Words., her debut EP, captures that in-between phase of life where self-discovery, nostalgia, and release collide. Each song traces the emotional shifts that come with learning when to hold on and when to let go. We spoke with NORA. to talk about the brand new EP, her creative process, an unusual place to find inspiration for a song, and to what's next on the horizon.

Congratulations on your new EP Just Words.! What emotions do you feel now that it is out there released?

NORA.: “Thank you so much! I’m feeling a mix of relief, excitement, and deep satisfaction. There’s relief in finally putting my music out into the world, excitement in knowing people will get to hear my heart, soul, and mind through these songs, and satisfaction in how proud and happy I am with how each track turned out.”

What are three words to describe your music to new listeners?

NORA.: “Self-deprecating, reflective, and self-assured.”

How did you approach Just Words. differently from your previous singles?

NORA.: “I approached this EP the same way I approach all of my songs by being completely truthful and writing straight from the heart. Every song is based on my own experiences. That’s what matters most to me when I’m songwriting; it feels like a diary I choose to make public.”

When it comes to sound selection and production for Just Words., what was the process for sound selection like and did you ever have a specific vision for what the song should sound like?

NORA.: “Honestly, with every song I sat down with my producer, Aden Gray, and my brother, Nick Suknaic, and talked through exactly what I was going for. Together, we collaborated to bring the picture I had in my mind to life. It’s funny looking back at the stripped-down versions from before recording, because they’re so different from where the songs ended up. Each track had an incredible amount of time and energy poured into shaping it into what it is today.

Aden Gray is especially talented in that way... before every song, he took the lead by asking the right questions and making sure we all truly understood where the song began and where it needed to end.”

What was the songwriting process like for Just Words.? Any unexpected moments or challenges making the EP?

NORA.: “The process was very similar to writing in a diary. Each song usually started with me alone in my room, sitting with a strong emotion... anger, sadness, falling for someone, or nostalgia. A little wine was usually involved too. From there, it was about letting everything out and being extremely honest with myself. It’s hard for me to leave things out; I want the songs to hold the whole truth.”

Each track on the album deals with such vulnerability and honest storytelling. How do you balance the evolution of artistry while staying true to yourself? What is your favorite song?

NORA.: “That’s a tricky question for me. I don’t always feel a disconnect between the two — there isn’t much shame in my game. If I feel something, it goes into the song. It’s all just very honest details from my life, and they’re not always pretty, but sometimes they are. I’m okay with being vulnerable because when other artists are, I’m so grateful for it. I love being able to relate to music, and you’d be surprised how much more alike we all are in the way we feel and process things. My favorite song is also tricky, but currently it's ‘The Hudson’ by The Favors!”

What's an unusual place you have found inspiration for a song?

NORA.: “An unusual place where I’ve found inspiration for a song is the back kitchen at my serving job. Working in customer service brings up a lot of emotions — for better or worse [laughs] — and sometimes those moments spark ideas I never expected.”

Is there any verse or lyric that holds a special meaning to you?

NORA.: “Truthfully, I’ve spent about half an hour pondering this question, and my answer is basically a whole album. With that said, you have to listen to A Grey Area by JP Saxe.”

What do you want fans to take away from Just Words. and your music as a whole ?

NORA.: “I hope people feel seen, understood, and a little less alone.”

What projects can we look forward to seeing from you in the future?

NORA.: “I’m writing nonstop, so hopefully an album is in my 2026 plans!”

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SAMI SITEMAN: INTERVIEW

February 1, 2026

by kristen case

Sami Siteman is a force to be reckoned with. Sami is back to chat with us at Unclear about her latest single “Chasing the Rainbow.” She shares from such an honest place that it is really inspiring. Sami discusses the creative process behind “Chasing the Rainbow,” what she’s most proud of about the release, and the collaboration that brought it to life.

Welcome back! What have you been up to since we last talked?

Sami: “I'm happy to be back! So much has happened for me in the past year both personally and professionally since we last talked! I got married, released the first single from my debut album, and have been hard at work on my debut album, called Welcome to My Brain! It's a collection of songs that I wrote in the ten year span between 2015-2025, all in some way related to mental health, and will be out mid-September 2026! I just released the second single from the album called ‘Chasing the Rainbow.’ So happy to be working on and releasing so much music this year!”

Congratulations on the release of “Chasing the Rainbow!” What emotions do you feel now that it is out there released?

Sami: “Thank you! I'm so happy to have this song out in the world! I wrote it back in 2020 and have actually played it live at shows for years, but to have it available for people to listen to on demand and hopefully connect with is so immensely special.”

How would you describe your music to new listeners?

Sami: “I always like to say that my music lives at the intersection of pop, country, and singer-songwriter with some rock, folk, and jazz elements sometimes thrown in! I have never felt like I fit squarely in one genre and that's the way I like it! Life is messy, it doesn't always fit into just one box, and neither do I. I think that fans of Sara Bareilles, Carly Pearce, Kelsea Ballerini, Olivia Rodrigo, Maren Morris, Noah Kahan, and Kacey Musgraves will really connect with my music and lyrics.”

How did you approach “Chasing the Rainbow” differently from your previous singles?

Sami: “My producer, Dylan Emmet, and I decided to make ‘Chasing the Rainbow’ a lot more acoustic than some of my more recent tracks. I really wanted the song to feel really intimate but still have some exciting instrumental elements, and I think we achieved just the right balance. Dylan is a genius and is always so amazing at translating my vision for my songs into a reality. Funny fact: Sometimes I like to be a little cheeky in my songs and add elements that are a dash on the nose, so if you listen really closely, you can actually hear some rain sounds in a few parts of the song.”

What was the songwriting process like for “Chasing the Rainbow?” Any unexpected moments or challenges?

Sami: “‘Chasing the Rainbow’ was one of those songs that really flowed out of me. The lyrics are truly very accurate: my favorite weather truly is right after it rains, but I absolutely hate rain. The song is quite literal in that I truly am always chasing the rainbow and don't want to sit through the rain, but it is also a metaphor for the way I naturally react to pain or discomfort in life in general — that I want to avoid it as much as possible and skip right to the happy things. So this song was really me trying to embrace the fact that you literally cannot get a rainbow or my favorite weather without the rain itself, and there is a freedom that comes with that realization; although I certainly wouldn't say I'm always perfect at remembering that lesson.”

“Chasing the Rainbow” could be the soundtrack to any movie. What would it be and why?

Sami: “Maybe it's just because it's one of my favorite movies, but I feel like it very well could have fit into the ending scene of How to Be Single with Dakota Johnson and Rebel Wilson when Dakota's character is hiking after having such a crazy year. To me, the song really feels like the moment when the rain clears and you realize that the hard stuff really makes the good stuff that much better.”

What has been your biggest piece of advice you have been given since the start of your musical journey?

Sami: “I think one of the best pieces of advice I have ever heard on my music journey, and honestly I'm not even sure where I first heard it, is that the people who make it in music, who are successful (in whatever way you want to define that word), are the ones who never give up on it and never quit. They keep making music even when their metrics aren't encouraging or when they aren't making any profit from their music or when they've gotten 100 no's. They just keep doing it because they love it, because they feel the need to do it. That's truly how I feel about music, it's just a part of me, something I will never stop doing. And all I can hope for along the way is that my music can just keep reaching more and more people. Truly just connecting with as many people as possible who might benefit from or heal through my music is success to me.”

What are you most proud of upon the release, and what do you hope listeners take away from “Chasing the Rainbow?”

Sami: “I'm really proud of myself for being able to identify the coping pattern I have of trying to rush through discomfort and for calling it out in this song. If nothing more, I hope that people take away the message that life is so multi-faceted and as challenging as painful moments are, they really do make good moments shine so brightly. I am also really proud of the cover art on this one! I always create my own album/single artwork and use my own photography, but this one was especially fun for me! I really loved overlapping the two photos I took in Canva to create the raindrops layered over the rainbow.”

What's next for Sami Siteman? Any fun events or projects that fans should look forward to?

Sami: “SO MUCH! I'm going to the Grammys for the first time this year thanks to my incredible manager Forbs West, so I am absolutely STOKED for that! I'm also co-writing more with/for other artists this year and that has been so much fun! As far as my artist project goes, Welcome to My Brain will be out mid-September, but in the meantime, I'll be releasing four more singles from the album! Some of them are really different from anything I have ever released before and I cannot wait for you to hear them! There also might be a mini tour announcement coming soon, so keep an eye out on my socials!”

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DREXLER: INTERVIEW

January 28, 2026

by martina rexrode

Scotland-based Hong-Kong artist Adrian Leung, known musically as Drexler, is a storyteller. With just a piano, atmospheric production, and the memories that are near and dear to him, Drexler creates music that any listener can use to fill the silences they face. His latest single, “Prague,” is a beautiful piece that speaks to the reversal of care that many people face as they adapt to taking care of their older parents. Unclear spoke to Drexler about this single, what his music means to him, and his upcoming album, Olympia-5.

How are you feeling about releasing “Prague” to the general public? What do you hope listeners gain from hearing this single for the first time?

Drexler: “I’m really excited about releasing ‘Prague.’ It will be the fourth and final single before my album, Olympia-5, is released. I think each track so far represents a slightly different mood reflected across the album, and ‘Prague’ is no different, with its warmer, optimistic, floating, and dreamy qualities. I see listening to music as a form of escapism, and I hope ‘Prague’ gives people the chance to unwind and reflect, offering them space to let their own thoughts take over while they’re listening.”

Can you describe what this specific track means to you and why it’s named “Prague?”

Drexler: “Each track on the album is named after a memory I have of my father. Some are named after places, others after things he’s said to me, and some after objects that hold memories within them. ‘Prague’ reflects a holiday I took with my father in 2024. I don’t recall ever going on a holiday with just my dad before, and as an adult I’ve rarely had the chance to spend that much quality time with him. The trip holds mixed emotions for me, the city itself is absolutely stunning, and we had a lovely time there. On the other hand, symptoms of his lymphoma returning were noticeable, which made parts of the trip difficult, especially as he struggled physically to walk long distances.”

What made you choose “Prague” as the final single from your forthcoming album, Olympia-5?

Drexler: “I’ve been really lucky to work with some incredible filmmakers on this project, all of whom have generously given their time and shared their work to accompany my music. When Hannah shared her film with me, which she shot on a recent trip to New York, I was so blown away by it that I knew I wanted to release it as the final single.”

This single is accompanied by a stunning short film directed by Hannah Papacek Parker. How do the visuals and narration achieve the vision you had in mind when creating “Prague?”

Drexler: “When I’m not working on my Drexler project, I write music for film and TV, and I really love the collaborative aspect of filmmaking. For the music videos accompanying this record, I wanted to give the filmmakers complete creative freedom to make whatever they wanted. I’m a strong believer that once you release music into the world, it’s no longer entirely yours. I want listeners to make it their own and find their own meaning in it and I presented the track to Hannah with this in mind. Hannah and I spoke about the record and its themes of care and being away from home, the guilt that can come with that, as well as the lack of belonging you can feel when moving between places. From there, she brought her own personal story into the film, returning to the US for the first time in 16 years and reflecting on family roots that had remained untouched and dormant. In that sense, the film and the music tell separate stories, but they are deeply connected in their fabric.”

What does your typical creative process look like? When playing what would become the final versions of each track on the album, how does improvisation help you get to where you need to go?

Drexler: “The creative process for Olympia-5 was very different from my previous releases. I was working under time constraints while my father was in hospital, and the idea was to send him lots of music quickly — to fill his hospital room with a warmer ambience and to let him know I was thinking of him, rather than constantly asking whether his health had improved or what the doctors had said that day. Because of that, I leaned heavily on the piano, as it’s an instrument I can write and record with quickly. The music was entirely improvised, which gives it an imperfect, searching quality. I was sitting at the piano thinking, reflecting, and processing so many things about my father — what life might be like without him, happy memories, and moments of regret. Looking back, in a strange way this approach feels like my thoughts connecting internally and then my fingers reacting to them on the piano.”

Olympia-5 was born out of a response to your father’s relapse with lymphoma. How has creating, playing, and listening to music helped you through difficult moments like this? How do you hope to help listeners with your own music?

Drexler: “Music has always been that for me — something that comforts me, explains things, and helps me release feelings I struggle to put into words. This album in particular has been especially helpful because it’s supported me through different stages of my father’s illness: from the initial idea of sharing the music just with him, to now releasing it publicly. He’s even been sending me old photos to share and filming things from his hospital room. It’s given us something to share together and has helped turn the experience into something a little more positive.

The response from my friends and family has been incredible. I think a lot of people can resonate with the ideas behind the music — many people my age are caring for their parents while also raising children of their own. Many are living far away from their families and struggling to balance what they want for themselves with being there for others. I hope the music gives people space to reflect on similar emotions and experiences in their own lives.”

What would you describe as the ideal listening environment for someone about to press play on Olympia-5 for the first time?

Drexler: “Ideally, the album would be listened to on some lovely speakers or a great pair of headphones. My mix engineer, Bobby Williams, really brought a lot of the pieces to life by adding gorgeous ambiences that complement the intimate sound of the recordings. Some of those details need to be listened to carefully. I think this kind of instrumental music works best when you can listen with focused intent, perhaps on a walk in nature, or lying down somewhere dark and quiet.”

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TARANEH: INTERVIEW

January 24, 2026

by anne-elise tidwell

Unobsession, the latest record from NYC-based rock artist Taraneh, confidently embraces her artistic evolution. While she began her music journey recording alone in her bedroom, this album allowed Taraneh to tailor her sonic identity alongside her band, resulting in a gritty, rock sound that she said authentically channels the energy of her live performances. Unobsession stands out in her discography as it merges raw rock power with a bold musical intensity that pushes her sound into exhilarating new territory. Unclear had a conversation with Taraneh about the spiritual liberation that came with releasing Unobsession, her unwavering dedication to putting on a high-energy live show, and what this chapter means to her, both as an individual and as an artist.

You mentioned earlier this year that you were beginning to let go of some persistent struggles that you had saying: "Now feels like a time of old wounds surfacing to be released once and for all. Perhaps the theme of this year even. Healing and releasing things that must be and are now cleared for us to enter our next chapters of abundant new beginnings.”

Do you feel like the process of making your newest album, Unobsession, helped you achieve that clear conscience? Does it mark a new beginning for you, not only as an artist, but also just as a person existing in the world?

Taraneh: “I think it’s really interesting because I feel like I didn’t achieve some sort of release through the album making process. It was more so about documenting and chronicling my experience while processing and experiencing a lot of different things.

I always view releasing an album as kind of having a double meaning. When putting something out into the world, you also release and surrender whatever that work was for you as it takes on a life of its own.

I think since the album was released, I’ve been able to actually kind of heal, process, and release a lot of themes of the album for myself, which I think is a beautiful thing that music can do for us. It lets us process, analyze, document and dive deep into certain themes or experiences in our life. Once the music is finished and we put it out into the world, then at least for me, I’m able to really move on from some of those experiences or concepts or cycles, whatever they may be.”

You were a full-time journalist before focusing on your music career. I was wondering how you think your work as an investigative reporter influenced your creative process or artistic direction?

Taraneh: “I wouldn’t say that my reporting has influenced my music or creative focus. I would say that I was reporting on what I was inherently drawn to, and so I think that’s part of my fingerprint, in a sense. My interests shine in whatever I do and I think that’s what it really comes down to. I never really thought to analyze the parallels between my reporting and my music, but the parallels are obviously there –– they’re just not so intentional. I think it’s more of a subconscious thing.

However, a lot of what I learned about getting work out and moving on was from being a journalist and working with tight deadlines. You have to relinquish control at a certain point or else you just won’t get anything submitted. I think that is a subconscious thing that journalists will forever do, even if they aren’t actively practicing as a journalist. What we learn is in us forever. [laughs]

Having a reporting background can also inform positively in any venture in the sense that you know how to articulate yourself and you know how to tell a story. I think a lot of things boil down to storytelling in their essence. Being able to have a very clear narrative and being able to articulate that for yourself and for another audience is very important.

At the same time, I love to leave a lot up to interpretation. You don’t see me explaining the intricate details of everything, but everytime I release an album or single or whatever, I always write out the thesis of what that means to me. I’ve never released those pages, but I have my own archive. That practice for me is really helpful in terms of contextualizing what a work means for me.”

I personally think you really thrive as a rock artist, which is the main sound of the new record. You mentioned once before how creating a live band inspired you to lean more into that vibe you explored on your previous album, “New Age Prayer.” Would you have expected yourself to go this direction before?

Taraneh: “Honestly, I didn’t expect it. But I’m not surprised. I think that each stylistic phase I've gone through has just happened so organically. I released both Grab Bag and A Fleeting Feeling before I even played a live show. New Age Prayer was the first album that I released once I started playing live –– solo –– but still playing shows.

I think the sound of New Age Prayer came from this very organic synthesis of me being on so many mixed-genre bills and wanting to create music that was a bit more conducive to a live performance. My back catalogue at that point had been very slow and didn’t necessarily include songs I wanted to perform live, at least not in a club setting, which was a lot of the shows I was playing at the time.

I feel like my back catalogue is very intimate and is the kind of music you should listen to alone, at least to me. That’s my childhood music. But I’m not going to tell anyone how to listen to my music. New Age Prayer took my music a step further, but it still had some residue of the old sound, especially on the later half of the album. That’s not to say that Unobsession is void of intimacy, but it’s different. I wasn’t recording it alone in my bedroom, I was recording it surrounded by five guys in a studio.

We toured with a hardcore band, which is not our sound at all, and we adapted older songs to fit that kind of live performance. It was a really fun and auspicious opportunity for us to switch gears and get a bit heavier with the sound and get a little more intense. I think I was able to expand my vocal range in that as well and to try out things I otherwise wouldn’t have.

When we came back from that tour is when we started writing Unobsession, and it just happened so naturally. I’m not surprised the sound went where it did. Now that Unobsession is out, this direction is what resonates with me the most in terms of where we’re going from here. I love what I’m doing now, but there are some elements of intimacy from my back catalogue that I want to bring back, so I don’t know. That’s all I’ll say for the next chapter.”

You have a lot of spirituality motifs woven throughout your artistry like your “type yes to affirm” website and Instagram chat. Do you have that sort of spiritual connection and does it manifest in your artistry?

Taraneh: “I would say my spiritual practice is one of the most important things to me just as a person. I was raised Muslim, and not in a super dogmatic way, which I am really grateful for, but I definitely had to find my own way within it. There is a lot that doesn’t resonate with me. I would say I’m culturally Muslim, but my spiritual practice is pretty separate from Islam as a whole. I feel like I learned a lot from my dad about having a personal connection with the divine.

College was when I really started to dive into spirituality, and I think since then I have been able to take on the world in a way that I previously was not able to do –– I wouldn’t be here without it. Asking for guidance and listening to my intuition has been my guide in a very strong way. I love to consume different forms of spiritual content, even if it doesn’t relate directly to my practice. It’s just kind of one of my niche interests. I think that is why it comes through in all of the branding.

The phrase ‘Typeyes’ is a bit tongue-in-cheek, referring to those TikTok videos that encourage an audience to type ‘yes’ to affirm readings like ‘you’re going to gain a large sum of money’ or ‘he’s coming back to you.’ I think there is definitely a deeper meaning that I haven’t quite parsed out yet, but it’s fun and it’s funny and I enjoy it.”

Your Bandcamp page says that you have been making music since 2015 and you mentioned before that you even sat on some of your album covers for years, yet you didn’t release anything officially until 2020. What made you finally decide to pull the trigger and release your music on streaming platforms?

Taraneh: “I started writing when I was thirteen and started releasing under a name I still haven’t told anyone. Grab Bag was released in 2020, but I had been working on that album for five or six years. I think the time was just right and I honestly think that’s all there is to it. I was able to get over the perfectionist approach and be like, ‘I just need to release this and move on to the next thing,’ which is how I approach my work in general.

I always think back to the five year gap I had. I was growing up and I went to college and all of these different things, so I really think I had a lot of life to live before I could release that album specifically. But I will always remember that five year lull –– and that won’t happen again because this is what I do for a living, so it’s a little bit different.

Things can always be better, but I always tell myself –– I really do believe this –– that things will be what they’re meant to be. I made Grab Bag on GarageBand and it was just me and a guitar. It was so DIY, and it could have been better. I could have been a more skilled musician. I could have had better production skills. I could have had more people in on it. Whatever.

But that album is exactly what it’s supposed to be, and I feel that way about all of my albums. I always tell myself that. Even with Unobsession I think that the album is exactly the way that it’s supposed to sound. I know it’s perfect. I know what it’s meant to be. I always look back [at my discography] and I’m like, ‘Yes. Absolutely. This is what it’s supposed to be.’ I think this is something that a lot of artists experience. The procrastination that comes from perfectionism can be really debilitating if you let it take over.

The point is to get it out, release it, and move on. That’s how we grow and move forward and get better and not get bogged down by the details.”

I read you started making music at 14 and posting to thousands of followers on Tumblr. I was curious how the evolution of your artistic direction has evolved since? Since having a band? How do you think your mindset compares now versus when you first started building your identity on Tumblr? Who are the two Taranehs?

Taraneh: “There are so many Taranehs. I feel like I am always having a transformation in my sense of self, but there are obviously core elements that are still there.

But now versus Tumblr, the world is different. I am different. I’ve grown up in a lot of ways. There’s something really special about the anonymity of Tumblr, about being able to embrace my creative identity. Having a space to separate my physical appearance and other kinds of visual features of being a person was a really valuable experience. It provided a low-stakes way for me to share my creative identity with the world, and that is something I would never take for granted. It’s really informed the way I now move throughout the world and the way I’m able to share my creative identity with others.

My music has evolved so much as a function of time and as a function of my experiences, which is what I think it should be. I always listen back to my old music at least once a year to remind myself where I came from like, ‘Okay let’s see where we’ve been, where we are, and where we are going.’”

What can those who are interested in attending phase two of the Unobsession Tour expect from your performance?

Taraneh: “You can expect a great time.

When I see artists I've only heard on recordings live, it all makes sense. I think that’s a universal experience and my live show is no exception. Putting on a performance, putting on a show is very important. I hate going to concerts that are low-energy, where no one is really doing anything, where it sounds exactly like the record. I think putting on an engaging performance is part of what makes performing exciting and fun to me. If I’m having fun, then the likelihood of other people having a good time is much higher.

If someone wants us to play near them, come to wherever the closest show is and show up. The more people who attend our shows, the sooner we can play smaller markets.”

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