In my recent DJ sets I’ve been playing a few tracks by Japanese producer W.ANNA.W whom I discovered recently. She put out a brilliant record last year called Petals of Nehan which you can hear at the bottom of this article. We caught up with Anna online to learn more about her practice and what she’s been up to.
The name W.ANNA.W immediately creates associations for me – the familiar meeting the unexplainable, as well as a European/East Asian axis. I also like how it looks with the letters folding in over each other. What does it signify to you?
The artist name, W.ANNA.W, naturally formed from overlapping parts of my background and sensibility. “ANNA” is my real name, originally derived from the Annapurna mountain range. I added the “W” to evoke the shape of mountains, a jagged continuous line, and I was drawn to how that shape resembles the Aquarius symbol.
Moving between international and local schools, I developed a sense of not fully belonging anywhere. To be honest, that was a complex for a long time. But now, I feel that this sense of not fully fitting anywhere has become central to how I see and create. Rather than functioning as a name, it feels closer to simply being what I am.
Your track titles are equally evocative. At the same time there’s a lack of emotion in much electronic music – perhaps producers find it hard to bring dramatic cadence into music without using clichés. What do you want listeners to feel when they listen to your music?
I think of my track titles similarly to sound itself, rather than conveying a fixed meaning. They gently suggest a certain direction or atmosphere.
With AI development, music can now be created by almost anyone. But subtle shifts in emotion and the psychological states behind them remain uniquely human. Making music feels almost like a form of therapy – a process of engaging with my own identity and exploring inspirations from everyday life, whether from nature or reading.
I find it fascinating how each listener receives the music differently. Something that feels dark to me might feel healing to someone else. I don’t create to deliver a specific emotion; I want to leave space for each person to interpret the music freely. Even the setting of the music exists more within the listener’s own memories and sensations.
You have collaborated with a number of European producers like xato and Quit Life. Tell us a bit about how these connections came to be. Did the online workflow change anything in how you compose?
I first came across Quit Life when they hosted a show on NTS together with Bloodz Boi, where they included one of my tracks in their mix. At that time, the track had just been released on a very small netlabel from a neighbouring town. I later got in touch with them because I thought it would be interesting to make music together.
Many of my connections with other artists formed naturally like that, mostly through the music I released. Music has always been at the center, acting as the connector. Online collaboration hasn’t drastically changed how I make music; it draws out perspectives and ideas I might not have reached on my own.
Through this process, moments of discovery, learning, and a kind of creative chemistry emerge. When everything comes together, each release feels truly irreplaceable, almost like a small miracle. I feel deeply grateful for those processes and encounters.
I’m not too connected to the current electronic music scene in Japan. I know there is a good amount of noise and ambient music, but what about artists that you feel connected to?
While noise and ambient music are often associated with the Japanese scene, it is actually very diverse. I don’t feel tied to a specific scene or genre. I’m drawn to things that resonate with me intuitively, regardless of where they come from. Rather than recommending specific artists, I think it’s more meaningful for listeners to explore freely and discover what resonates with them.
Are there any venues for experimental music where you live? You told me you organised an event there?
Compared to cities like Tokyo or Osaka, Aichi’s scene is smaller, which allows for more independent movements and unique expressions. There aren’t many venues dedicated solely to experimental music, but clubs, galleries, and other spaces host a variety of performances. Yes, I organized an open-call event in Aichi for the public, but it wasn’t about presenting a specific genre. As part of that event, I performed live with vocals and guitar.
It was intended to give people the opportunity to listen closely to the subtle movements of their own thoughts and feelings within everyday life. Life in Japan can feel very busy, and it’s not always easy to find space or pause. I wanted to create a moment where people could slow down and reconnect with their inner sense, not as an artist, but as a human being sharing that space.
You also told me you studied in Denmark for a while –what brought you there?
I studied in Denmark in 2018 for about two years at a folkehøjskole, a school with over a hundred years of history where people of different ages explore their interests and reflect on themselves.
In Japan, it’s common to move directly into university or work after high school, so I was interested in experiencing a different approach to education. I had also stayed in Denmark briefly as a child, and the nature and atmosphere left a strong impression on me.
While I wasn’t actively pursuing music the same way I do now, I experienced live electronic music at the school, which sparked a deeper interest. I had been playing electric guitar and taking music classes, performing in bands, and sometimes playing drums at school events. Those experiences became an important foundation for what I do today.
Do you make music purely from a DAW or do you use any other hardware, field recordings or analog instruments?
I mainly create using a DAW, but depending on the project, I sometimes play synths myself or incorporate field recordings. For example, I might record natural sounds or environmental noise, then manipulate them into textures or noise. Sometimes I also include electric guitar sounds.
The DAW is the foundation of my production, but adding real world or unexpected sounds always brings new discoveries and enjoyment.
What are your plans for the foreseeable future – do you have any gigs or releases coming up?
I’m currently preparing for upcoming releases, including a compilation, which allows me to present a track in a way that is unique to that format. In addition, I plan to release a few personal tracks, which I hope can reach as many people as possible, even if it’s just one more person.
I would like to go back to Europe if possible, but it’s not something I can do immediately. I truly hope to go in the future. Since I have never performed live in Europe, having the chance to perform there would be an ideal experience.
Thank you!
We can also reveal that W.ANNA.W will be the next guest on our radio show on Noods. So look out for that in May. In the meantime, check out her most recent record below.
