Minori Nagashima – serval DOG – interview: “After dropping out of middle school… that’s when I picked up the guitar”

Minori Nagashima – serval DOG – isn’t one to follow a straight path. The Shizuoka-born artist first broke out as the frontwoman of MINOR THIRD, a young, self-described “DOWNER POP” band that reached the finals of the Mikakunin Festival in 2019. But while the band’s dark, punk-driven alt-rock sound built her foundation, Nagashima’s creative ambitions pushed her elsewhere. In 2022, she launched – serval DOG -, a solo project that gave her full control—writing, recording, and producing everything herself.

Her debut album, ‘ALONENESS’, released in December 2024, channels both that independence and a deep sense of solitude. Across 15 tracks, she moves between distorted chaos, stripped-down introspection, and rhythmic breaks, balancing defiance with vulnerability.

Nagashima’s influences stretch from classic punk to Japanese rock, but her connection to music wasn’t immediate. As a teenager, she drifted away from school and into a more rebellious crowd, eventually picking up a guitar in search of something that felt like hers. It wasn’t until high school that she was introduced to the bands that would shape her sound—punk, in particular, grabbed her. That mix of defiance and discovery still runs through her music, where loud guitars and quiet moments carry equal weight.

With ‘ALONENESS’ behind her, Nagashima is already looking ahead, hinting at collaborations and even a return to playing in a band. In this exclusive interview with Minori Nagashima, we spoke with her about her creative process, the shift from MINOR THIRD to – serval DOG -, and how the album speaks to those who know what it means to be alone.

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‘ALONENESS’ is built around solitude, reflecting both the joy of self-discovery and the crushing weight of isolation. Was that emotional contrast something you set out to capture, or did it emerge naturally?

I’ve always felt loneliness. Even when I was in a band, and since I was born. That’s why I thought if I could share that loneliness with everyone, it could bring warmth. That’s why I released ‘ALONENESS’—with the idea of sharing loneliness.

Did that same push for independence shape how you structured the album’s sound—balancing distortion, danceable breaks, and quiet moments?

I imagine a mix of silent moments and energetic moments before I start composing a song. If it’s constantly noisy all the way through, it can sound flat (though I do like that kind of music too!). So, like adding breaks here and there, I arrange the song in my head as I create it.

As for self-production, I feel very light-hearted because I can do whatever I want, as long as it doesn’t violate compliance.

“After dropping out of middle school… I began searching for what I truly wanted to do. That’s when I picked up the guitar.”

Your family introduced you to artists like Yutaka Ozaki and THE BLUE HEARTS. What was it about their music that made you want to pick up a guitar?

My father liked Yutaka Ozaki and THE BLUE HEARTS music, but that didn’t mean he gave me any special musical training. In fact, I was in a basketball club during middle school (laughs).

After dropping out of middle school (meaning I couldn’t go to school and started hanging out with yankiis, the delinquents), I began searching for what I truly wanted to do. That’s when I picked up the guitar. It was something I felt I could truly dedicate myself to.

Rebellion defined your teenage years, and punk has been a constant. Do you think those early experiences still shape your songwriting today?

I definitely think it’s reflected in my music. I was making music in a regional city, but when I moved to Tokyo and worked at live houses, I was exposed to all kinds of music, which made me think, “What is my identity?”.

But in the end, that rebellious spirit became my fuel. At the same time, I now believe that kindness is also important in rock and roll.

You first made a name for yourself with alt-rock/punk band MINOR THIRD. Looking back, how did your time with the band shape who you are as an artist now?

When I first formed MINOR THIRD, and we didn’t have any original songs yet, I made a demo by myself using DTM (Desktop music), which was the beginning of my journey with DTM. I believe that experience is still alive in me today.

Also, I performed at a competition called the Mikakunin Festival where it was the largest venue I’ve ever played at. Now, before every live performance, I remind myself of that moment and take a deep breath, just like I did back then.

MINOR THIRD was a collaborative effort, but now you’re doing everything yourself. What’s been the biggest challenge—or freedom—of working solo?

I guess the biggest challenge is how much I can make the audience feel the greatness of the performance on stage as a solo.

It’s not just about playing a backing track; I try to make it sound like a full band by using an amp, and I prepare my outfit carefully so that I don’t look lonely on stage.

The part where I feel freedom is simply being able to play the music I truly love, and that’s all.

“Just like how I was once saved by music… I believe I can deliver something to people who are feeling solitude.”

You’ve described your home recording process as a kind of diary. Are your songs an open book, or do you hold certain things back?

There was a time when I made songs every day, like writing in a diary (laughs). ‘shibuya iggy pop’ was really like a diary, and I actually ended up covered in blood in Shibuya at one point, haha.

But not everything was just an extension of my diary; there are also songs with a narrative and story behind them.

With a song title like ‘shibuya iggy pop’, do you bring that same punk spirit to your live shows, and is that something audiences pick up on?

I hear that often. I’ve also been told I resemble the vibe of Kurt Cobain from Nirvana. I’m really happy about that.

With ‘ALONENESS’ out in the world, what’s next for you?

Next, I’m working on an album aimed outward. I want to actively collaborate with features, something I didn’t do on ‘ALONENESS’.

You’ve collaborated with artists like HARU NEMURI in the past—who else, in Japan or beyond, do you want to work with?

Maybe the band called the bercedes menz.

Do you see serval DOG as something long-term, or could you see yourself getting back into a band setting someday?

I plan to continue my solo activities, but at the same time, I’m thinking of starting a band based in Shizuoka from this year (it will be something different from MINOR THIRD).

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