"Imperfection is the key to creation": NANO opens up about the fearless journey of 'aИomaly'

NANO’s voice doesn’t just cross languages—it smashes through genres, borders, and expectations. Born in New York and based in Japan, the bilingual rock singer has become a global force, with over 15 anime and game themes under her belt and a powerful live presence that’s electrified stages across North America, Europe, and Asia.

Her latest EP, aИomaly, is a raw, genre-blending snapshot of her emotional journey—one that doesn’t shy away from chaos or discomfort. “There are sounds that can only be born through destruction,” she writes. And true to that, the record moves from punchy rock to shimmering electro, threading vulnerability and catharsis into every track.

We caught up with NANO ahead of her upcoming Europe and Japan tours to dive deep into the world of aИomaly—its challenges, inspirations, and how it all comes alive on stage.

You’ve described aИomaly as “beauty in chaos, emotion in discord.” What were the emotional or creative challenges you faced while crafting this record?

The tracks on this album were created over a span of a few years, so each song really expresses a different part of me or a separate emotional state. These past years in particular, I’ve been trying to challenge myself with new and more difficult things. That brings a lot of highs and lows, which you try to find ways to overcome—and that’s what this album is all about.

You said the word “anomaly” struck you because of its connection to discomfort—and that discomfort has become a kind of fuel for you. How did that concept translate into the themes on this EP?

Music has always brought me both pain and pleasure. The more I strive to evolve as a musician, the more I feel like there are things I need to improve or challenge in myself. Even though I love my songs, I’ve never really truly been satisfied with anything I’ve done. Those “discomforts” are like anomalies in my life—they keep driving me forward, pushing me to find satisfaction in what I create. I think imperfection is the key to creation.

There’s a powerful mix of genres across the six tracks—from the rock punch of ‘Do or Die’ to the shimmering electro on ‘Oblivion.’ What was your approach to curating such sonic variety while keeping the EP cohesive?

Honestly, I never try to focus on cohesiveness. Music and life are always changing, and freeing myself from those limitations lets me create on a wider scale. I just try to make music that excites me, no matter the vibe or genre. In the end, when I sing it—that’s what brings it all together.

Can you talk us through ‘ENDAGME’? It’s described as a “hopeful anthem” with ironic brightness—what inspired that energy and tone?

This year has been all about touring, doing shows, and connecting with real people. I knew I wanted the lead track on this album to be raw, vibrant—something I could rock out to with the crowd. Nothing makes me happier than giving people energy and good vibes through live music.

‘Devils In Me’ and ‘WAKE ME UP’ were created as originals for the P Devilman THE FINAL game. How did working on a game tie-in shape the songwriting approach for those tracks?

As much as I love writing original songs for myself, I absolutely love creating music for anime, games, and subcultural stories. Writing these songs for Devilman was a good challenge—it let me dive headfirst into my imagination. The themes are real but wilder, more story-driven. I hope listeners can feel that depth.

‘Do or Die’ is the opening theme for Shadowverse F. What was your reaction when you were first approached for this project, and how did the anime’s themes shape the song?

Shadowverse wasn’t initially a dark anime, so it was surprising when I got the offer. But the team shared that the new season would focus on deeper emotional struggles, and they wanted a strong, emotional track. I wanted to go out of the box and deliver something unexpected. The lyrics are about playing your game of life, choosing your cards right, and taking risks to reach your goals.

You collaborated with a diverse lineup of composers and arrangers—from Akihiro Horie to Seann Bowe. What did working with such a range of creatives bring to aИomaly?

It’s always an honour to work with such talented people. They challenge me and help me grow. I’ve worked with Shota since my debut—he always strikes chords in me. Seann is another creator I’ve learned so much from. His music is both powerful and healing, and working with him in the studio is a joy.

You’ve shared that you can’t wait to bring these songs into your live performances. How do you envision the EP evolving on stage—especially with your upcoming tours in Europe and Japan?

I love performing my more well-known songs, but sharing new music is always exciting—and a little nerve-wracking. I hope the crowd enjoys it. I always feel like my songs aren’t complete until the audience is there. They make the music whole.

Finally, many fans discover your music through your work in anime, films, games and stage productions. Is there one commissioned song you’ve done that feels especially pivotal in your career?

A lot of my commissioned songs have been huge milestones, but ‘SAVIOR OF SONG’ really became a language of its own. It made me believe even more that music has no borders—that it connects us all, no matter where we are.