STOMPIN’ RIFFRAFFS (Stompin’ Riffraffs)
Interview commemorating the reissue of their debut single

ーWhat is the origin of the band name? Is it the slang "Riffraff," which Google Translate renders as "a derogatory term for people at the bottom of society, scum"?

NAO   That was certainly part of the meaning, but at first it was the name from a movie SAORI had seen, and SAORI came up with the band name.

Saori   Just when we were thinking of a band name, I came across an old movie called "Riff Raff Girls." I also liked the artwork, such as the poster, and the overall world it created, so I vaguely thought, "Ah, maybe we should include Riff Raff in the band name." That was what led to this name, haha.

ーDid you already know about Back from the Grave, the event organized by DADDY-O-NOV that you perform at every time, before the band was formed? What about Rizlaz GO's DJ events? Were you influenced by them?

NAO   I learned about Back from the Grave from SAORI around the time the band was formed, and went along. As for Rockabilly events, I often went to the Bash and Buzzin', which was running at the time, and 2 o'clock club, the legendary all-night weekday event held at CLUB WIRE in Shinjuku, was also amazing! I've always gone to interesting places regardless of whether they were Rockabilly or Garage, though! I'm still like that! If you ask whether I've been influenced, of course I think I have, but I'm doing what I want to do. It's neither Garage nor Rockabilly, haha.

Miku   Once we started going together with the other members to Rockabilly events and Back from the Grave, and Nov started hanging out with us fairly early on as well, I was naturally influenced by all kinds of things.

Rie   I went to BFTG at Shimokitazawa Shelter during the Nasu era, and saw bands like Gyogan Lens. Aside from BFTG, I saw Lulu's Marble, Neatbeats, First Alert, Teengenerate, and Gasoline at Shelter. Incidentally, I first saw Stompin' Riffraffs at one of Go's events at Baron in Roppongi. They were playing Link Wray and JohnnyKnight, and I was excited, thinking, "I just saw a really cool R'n'R band! Isn't this what frat rock is!?"

Saori   I knew about BFTG even before the band was formed, and I would occasionally go there. After starting Stompin', we sometimes went there together as a band. I also often went to Bash, which was run by Go. Bash was influential not only because of the bands that performed, but also because of the DJs Go and Sid. They played not only authentic Rockabilly but also R'n'R and Surf, and I feel like they introduced me to all kinds of songs.

ーIf there are any artists or songs that you have loved since the band was formed

NAO   Definitely the Sonics and Link Wray! I usually listen to anything depending on my mood that day, though.

Miku   Link Wray, the Sonics, Jerry Lee Lewis, Little Richard, Ray Charles, and so on. Among Ray Charles's songs, I especially love "I Don't Need No Doctor," and when I heard the Sonics' cover, it gave me goosebumps all over (laughs).

This is incredible in its own way—so cool! It made me excited all over again, thinking, "We can't let them outdo us" (laughs).

Saori   Hmm, there are so many, it's hard to choose, but I've always loved the feel of Link Wray and the Sonics.

Rie   I feel happy every time I listen to or play Floyd Dakil Combo's "Dance Franny Dance." Eddie Angel, whom we've played with several times, is an amazing person who can pull off rockabilly, blues, garage, or surf bands with equal style. On top of that, his natural, unpretentious personality is charming; he has the relaxed atmosphere of a friendly uncle.

Do you remember your first show?

NAO   Our first show was either at STATT in Musashisakai or at the old BARON in Roppongi.

Miku   I don't remember anything after I got onstage (laughs). I must have been excited and nervous (laughs).

Rie   My first show was at Heavy Sick in Hatagaya, at an event called "Early Alley." There might be a YouTube video of it.

Saori   I remember the first show we played after Rie joined. I think the first song was "Whip." I feel like we played it a little slower than usual (laughs).

What gear do you use regularly, such as guitars and amps? Is it vintage?　

NAO   I used to be particular about vintage guitars and guitar amps too, but now they break down all over the place, so I often end up using reproductions. Sometimes I use vintage-modified gear. But for recording, I still use vintage equipment.

Miku   My piano isn't vintage; it's a modern one. Since we travel by train, I need an 88-key piano that I can carry and that has few buttons. If there are too many buttons, I'll end up pressing them (laughs).

Rie   I've used a Silver Tone Dolphin Nose '59 bass since the band's early days. But when I went to LA the year before last, I picked it up at the airport after arriving and was stunned to find that the neck had cracked. I urgently bought an Alamo Titan 1960's from a local shop called Caveman Vintage, and I've mainly used that ever since. I also have a Danelectro 1960's short-scale bass that I bought around the same time as the Silver Tone. They're all considered bizarre instruments, but I love that cheap but cool quality, and I think they suit the band.

Saori   I use a '60s Ludwig snare.

I think it's unusual to use a theremin in rockabilly or garage music, so why did you decide to? Was it Miku's idea?

Miku   It was NAO!

NAO   I originally intended to use it myself, but playing guitar, singing, and playing theremin at the same time was too much, so MIKU ended up doing it. You don't see many theremins like that (laughs). It's called an Ishibashi Theremin, which was sold by Ishibashi Music, but they don't make it anymore. Apparently the inventor still works at the music shop, so I'd like to go and say hello.

Saori   We started using the theremin at NAO's suggestion, inspired by old science-fiction movies and the like. We weren't particularly concerned with genre; we simply incorporated it because we wanted to try something that looked fun.

Has your style changed or evolved in any particular way since the band was formed?

NAO   The basic way we think may not have changed since we formed. However, after joining WILD RECORDS, there were many bands around our age that we could inspire and challenge one another, so I feel I was able to really refine my own expression.

Saori   The direction hasn't changed much since we formed. However, I feel that our own identity has come through more than before. We've become more particular about the finer details of songwriting and sound-making. In that respect, I think joining Wild Records has had a major impact. Everyone there is around our age or younger, yet they have original styles rather than simply copying others, and I thought, "We can't afford to lose to them."

Rie   In terms of songs, there's "Buxotic," the single released by Rockin’ Jelly Bean's Mondo Erostika. Until then, we'd been doing upbeat rock 'n' roll, but this mid-tempo, exotica-style instrumental seemed to broaden the band's range. I was surprised when NAO brought it to studio rehearsal and asked, "What do you think?" Another example is our recent cover of Nathaniel Mayer's "Village of Love." I used to think, "A sweet love tune? That could never be Stompin' Riffraffs," but we tried it at the suggestion of NOV, whom I mentioned earlier. I feel like it's opened up a new frontier for us! And I believe it's been well received. People even say, "I didn't realize that was you guys' song" (laughs).

I think the band's attitude has changed in various ways through its involvement with Wild Records and the experience of touring overseas.

I think the blend of rockabilly and garage is absolutely amazing and incredibly cool, but do you consciously aim for it? Or does it come naturally? Do you all write the songs together?

Saori   Sometimes it's deliberate, and sometimes it's instinctive. But those are the kinds of sounds we like, so I think a lot of it happens naturally. Nao brings in the songs, and we finish them by working them out together in the studio.

NAO   I write the lyrics and music myself. First of all, we want to play rock 'n' roll. Rather than consciously aiming for rockabilly or garage, this is simply what rock 'n' roll sounds like in my head. I don't know why I imagine it this way, but somehow that's just how it turned out.

ーI imagine you tour Europe and the United States often. About how many times have you toured in the past? What first prompted you to start?

NAO   It started with Rebel Night NYC Weekender! From there, I think we were invited to various places and ended up playing all over.

Miku   MySpace was popular back then, and that's how they contacted us, right?

Saori   I think we've been to the United States and Europe more than ten times. If you include Asia and Oceania, probably even more.

ーDo you have any mishaps or memorable episodes from your overseas tours? Is there anywhere you'd like to tour or play again?

NAO   When I happened to be in New York for a show during the hurricane, the city was understandably in terrible shape too.

We were supposed to play a two-band show with Daddy Long Legs that day, and Rex from WFMU's Fool's Paradise was scheduled to DJ.

Miku   We were excited about this wonderful venue that looked like an old theater, and after soundcheck, when we were about to change, we were told, "Everyone out, and take your luggage with you!" (laughs) Apparently, a typhoon had ruptured some pipes or something. When we went outside, there were about twenty fire trucks lined up! The event was canceled, and an American friend who had come as an audience member said there was another event nearby where they might let us play, so they drove us there. But when we arrived, my bag containing my piano and passport was missing! We borrowed a small keyboard that happened to be at the venue and somehow made it through the show. When we went to the dressing room, a man in a bathrobe turned around with a smile and said, "Great show!" It made me feel warm and rescued (laughs). That was my first meeting with Bloodshot Bill (laughs). While I was half in tears searching for my luggage at the original venue, I later heard that Daddy Long Legs, who is now hugely popular, had also played there. I heard they were incredibly cool, and I was so jealous (laughs).

Rie   There have been endless mishaps, including instruments breaking, but one thing that stands out is getting an electric shock. Maybe it was LA? The other band brought and set up their own amps at the venue, and during a theremin song, Miku, NAO, and I were jolted for just a moment, as if we'd been grabbed. I caught a glimpse of Saori's smile since she wasn't caught up in it. I'm glad it didn't turn into a disaster.

There are several places I'd like to revisit. We've played in New York many times, but I still want to go back. The music scene and the city itself feel close to Tokyo. Brighton had the feel of a seaside city, and I remember the variety of people there. I'd also like to visit Madrid and other cities in Spain.

Saori   When we played at a festival in Bethune, France, NAO broke a bone because he got carried away during his performance (laughs). There are many places I'd like to play again, but France is especially interesting, so I'd like to go back. The audiences are crazy in a good way. They even try to stand out more than the bands (laughs).

NAO   Watching shows and playing with other bands in Europe is fun too, but America has lots of interesting people from our generation, and it's fun hanging out with them. Every country has its own appeal, so it's hard to choose!

ーI imagine you've played live all over Japan as well, but are there any regions that stand out?

Rie   Every place has left an impression, but if I had to choose, I'd say Hakata, our first trip away. The organizer there later invited us to his hometown of Niihama as well. Hakata is an area packed with live houses, which made me think, "This really is a sacred place of rock."

Rather than a region, I would say unusual settings: a live show aboard a ship in Yokohama and one on top of a skateboard ramp in Fussa. At both, it was funny because we couldn't stand up straight.

Miku   Whenever we go to other regions, everyone, including the audience, shows us around and treats us so well, so every place is memorable. But Fukuoka, where we went for the first time, stands out in particular. NERVOUS WRECK, who played that day, were incredibly cool too! Sugakan-kun, who invited us, even joined in on maracas! Nobody booked a hotel; we all drank until morning and then performed at Back from the Grave (laughs).

Saori   There are many, but the first time we were invited to Kyushu left the strongest impression. We were invited through the kindness of the organizer, Kan-kun, even though the band wasn't as well known as it is now, so we were really happy. After that, we started getting invited to other regions more often, so I think this show was a major turning point.

NAO   This is difficult because every place has its own appeal (laughs). But Fukuoka and Niihama in Ehime, where we were first allowed to play outside the Kanto region, are especially memorable!

ーWhat led to your relationship with Miz Liz in the United States, which released your 2010 debut single and is now having it reissued by Time Bomb? How did you feel when you released your first record back then?

NAO   It started at Back from the Grave's Halloween Ball, where Tex approached me. From there, the people at Rebel Night in America heard us and invited us to the New York Weekender, and things have continued to connect from there. We're truly grateful.

Rie   He had a pompadour and looked like a rockabilly guy, but when I saw him wearing a The Sonics T-shirt, I thought, "No wonder he thought about producing a Stompin' Riffraffs record." At the same time, I realized there was no need to worry about categorization. I felt a little proud that my first officially distributed release was a vinyl single.

Miku   I was really happy when it first took shape as a record! And it was green!

Saori   We were happy. Since it was on colored vinyl, it felt special, and it was especially moving because it was our first experience having someone release our music after liking us at a live show. Of course, we've been just as happy every time we've released music since then! (Laughs)

ーAs for the singles released in various countries afterward, Spain's SLEEZY, Bizarre Men, Killer Diller, Sailor Lars (which countries are those three from?), Norton, and so on, is it that they liked you when you toured there and offered to release them?

NAO   Bizarre Men is the underworld (my house), Killer Diller is New York, and Sailor Lars is probably Sweden! Norton is New York; we met everyone there from time to time, and that's where it came from, I guess!

Saori   We were approached after they saw us play at a show on tour or when they came to visit Japan and saw us perform.

ーThe unexpected Stones cover you did for Norton's single (a split with BARRENCE WHITFIELD) was interesting, with an arrangement that really brought out the band's character. Was that Billy's song choice and arrangement idea, or the band's?

Rie   Wow! I'm so happy to hear you say that! This was for the The Rolling Stones Cover series. When Billy approached us, he'd already sent us a list excluding songs that other bands and artists were covering, with no instructions other than, "Choose whichever one you like from here." We all decided together that "What A Shame" might work.

NAO   It was difficult to cover one of those songs in a way that sounded good and cool in our own style. So we took everything apart, used the lyrics, and rewrote the music.

Saori   The Stones and Stompin' are completely different musically, so we arranged it through a process of trial and error. I'm glad you liked it!

ーSpeaking of which, when Norton was hit by the hurricane in 2012, you were on tour there and helped clean up the damaged warehouse, right? Billy and Miriam often praised the band too; do you have any memories of them?

Miku   The contents of the damaged warehouse were lined up all along the hallway. There was an incredible amount of stuff. But I'll never forget the looks on Billy and Miriam's faces when the elevator doors opened and they came running toward us happily shouting, "STOMPIN’ RIFFRAFFS!!!!!!" It was such a shocking scene that we nearly stood there dumbfounded for a while. We could only do little things, like wipe down the records one by one, but I'm glad we went.

Rie   It was fun talking with the two of them while wiping off the water from the soaked records and becoming friends with all the local music lovers around Norton. Seeing Norton's collection was overwhelming, and it was a great experience. You may occasionally find records in shops stamped "Sandy" (note: the name of Hurricane Sandy) on the label. The tour itself was full of mishaps due to the hurricane damage and snowfall.

Then The A-Bones came to Japan in 2014, and I thought, "Billy will finally get to see us perform 'What A Shame' live!" But Billy was feeling ill and wasn't at the venue when we played. Later, we had a New York tour planned, and I thought, "This time..." but Billy died just before the tour, so it never happened. When we appeared on Todd-O-Phonic's radio show, which had close ties with Norton, and performed the song, I started to cry. Still, I don't think Billy had any regrets about it or anything.

NAO   Things were pretty difficult back then, and we were worried, but everyone was doing well, and we'd wipe down records while having a great time together! Billy would happily bring in and show us the masters from The 5.6.7.8s' recordings. When we were on the same bill, he'd watch over us from the wings. They were like our New York parents!?

ーHow did your debut album, released in 2011 through DADDY-O-NOV's Radio Underground Records, come about?

Miku   They first invited us to an event in Fussa. That same day, they invited us to their Halloween event, and after that they started inviting us to more events. They also came to see us play. Nov often talks about the first time he saw us live, including in various other places, but the impact we had on the band he encountered was clearly genuine. He simply kept saying, "I'd love to release an album on my label!" and he made it happen.

NAO   I was nervous because it was the first time we'd properly recorded an album! We also experimented in various ways, like taking the cover photo at my younger sister's house, which didn't have many furnishings.

ーAnd after that, you released your second album, "A Man And Three Chicks" (2015) and third album, "Burning" (2021), through WILD Records in the US. How did that come about?

NAO   It all started when Reb (the boss) suddenly contacted me one day via Facebook asking if we wanted to do something together. I replied, “Do you mean you’ll make a single for us?” That led to us joining WILD RECORDS. We went to America on tour and recorded a single, and then decided to make an album. At the time, everyone signed to WILD RECORDS was a lovable bunch of idiots around our age, so we naturally had a great time.

Reb asked me why I didn’t belong to a label, but at the time it wasn’t that I didn’t want to. I had a lot of close artist friends, and many of them were cool, so I wanted to be in that environment and get stimulated by all kinds of things. I accepted Reb’s invitation and joined the label. As part of that process, we ended up recording "A Man And Three Chicks." During those recording sessions, everyone came by to hang out, joined in with handclaps, and got us fired up by talking nonsense. It was the best.

"Burning" came right as the pandemic was beginning, when overseas tours became impossible and events were being canceled domestically too. That situation was tough for me, since I had nothing I wanted to do besides rock ’n’ roll, so I thought this might end up being my last album and borrowed a ton of money to make it with attention to every detail. In the end, I spent way too much money（泣）. Although it was released under the WILD RECORDS name, it wasn’t recorded at WILD’s studio; we recorded at a studio in Tokyo with Sota, a trusted engineer.

Saori   Normally, Wild Records records at its own studio in LA and handles the CD pressing as well, but because the pandemic made it difficult to travel to LA, we made an exception and handled it that way.

-You also play famous songs like 「Ralph Nielsen/Scream」, 「Bunker Hill/GIRL CAN'T DANCE」, and 「SONICS/The Witch」, as well as obscure rockabilly and garage covers like 「Surfside Date」, 「The Whip」, 「Ghost Train」, 「99 Chicks」, and 「Rock and Roll Guitar」, but are you still influenced by compilations on labels like Crypt and Norton? Do you choose the covers together?

NAO   Of course Norton and CRYPT are at the root of it all! Also EVA’s Madness Invasion and Buffalo Bop.

Rie   I’m sure compilations have influenced us in ways we aren’t aware of, but otherwise we discover things through DJs’ sets. I already knew the song "Surside Date," but Jimmy Masuko played it at a BFTG event, and I feel like we decided while dancing on the floor with the other members, saying, “It’s such a cool song, isn’t it? We should cover it.”

Saori   Compilations are part of it, but we’re also influenced by things we’re taught by other people, or by asking a DJ about a song that catches our attention at an event. We often choose covers by having someone bring in a song they want to play and then deciding together whether everyone wants to do it.

-’50s-’60s rockabilly and garage are bottomless and deeply fascinating, just like R&B and doo-wop, but you’re still researching them without getting tired of them（笑）? Is there anything you’ve been especially into lately?

NAO   Basically, I like music that’s close to the style we play now, but I also like music that’s completely different! I listen to anything at home!

Rie   There’s still so much I don’t know about any genre, but lately I’ve also wanted to learn about and acquire ’60s music from outside the English-speaking world. Los Saicos are a prime example, I think, and it’s fascinating and cool to hear how they digested rock ’n’ roll, surf music, and the Beatles and turned it into this. The same goes for GS and other music from Asia. But the most recent record I acquired was PUNK.

Miku   We’ve been invited to lots of different events, and both the bands we share bills with and the DJs are wonderful, so I love the DJ time at events too. I’m constantly being stimulated and influenced. Rather than limiting myself by genre or era, I often get into things that I hear playing in everyday places like the streets or supermarkets, or that I hear in a movie and then look up.

Saori   I’ve always been the kind of person who listens to all sorts of music, so I try to check out anything that catches my interest, not just rockabilly. For example, if a song I like is playing when I enter a shop, I’ll Shazam it or ask the staff what it’s called, and then I might look it up on Spotify or YouTube. You can discover quite a lot that way, and it’s fun. For example, techno and hip-hop artists sampling songs from the ’50s and ’60s.

-You used to be a young hopeful, but now I feel like you’ve become a central presence in Tokyo’s rockabilly and garage scene. How do you feel about the current state of the rock ’n’ roll scene? There are still many energetic, older veteran bands that are actively performing, too, right?

Rie   As for the scene, I’m too busy just focusing on myself to look at it from a broader perspective, but I think there are some young and good bands out there.

Some veteran bands have consistently stuck to the same style all along, while others have deepened their sound, or expanded their range of expression, giving them an impressive intensity. Either way, they’re all cool, aren’t they?

Miku   We received so many offers, and without really realizing it, quite a few years had passed（笑）. When I watch live shows by older bands who are still active and full of energy, I actually get energized too! So cool!

Saori   I feel like the boundaries between genres have become less rigid than when we started the band. There are events that mix various genres, like Blast Jams, and bands and audiences are becoming friends. I think it’s great that people are starting to casually drop by even events where they might feel like outsiders. I hope this trend leads to more movement between people and increases the population of the scene as a whole (laughs). I think it’s a good thing that there are so many older bands still active. There are also many bands I was a fan of as a listener, and I hope they stay healthy and active for a long time!

NAO   When I imagine myself being close to 60 or 70, seeing people doing cool things at that age reassures me!

-Didn’t you say you had also started playing punk and other cross-genre events?

NAO   If you invite us, we’ll travel anywhere (laughs). I think the other members probably like various musical styles too, so they enjoy all kinds of styles at all kinds of events!

Miku   We get invited to events across all kinds of genres! There are unexpected connections and new ones too, which is fun and stimulating, and we’re very grateful!

Saori   Punk, hardcore, ska, world music, hip-hop, and so on. The atmosphere differs from event to event, and it’s fun meeting new people, so if we get offers, I’d like to keep playing in all kinds of places!

-I’m sure the dependable seniors around western Tokyo dote on you (laughs). Do you have any stories?

Miku   I’ve lived over that way since I was around 20, so on a daily basis I have so many things to be grateful for.

At the Ponderosa Stomp festival in New Orleans in 2017, three older women who had always looked after us came to see us. A van pulled up near the venue, the window opened, and someone called out, “Miku-chan!” Nov-san was there too, and the faces were so familiar that it felt just like everyday life. We even wondered, “Are we in New Orleans or Fussa?” (laughs). It became one of the most fun and memorable tours I’ve ever been on.

Saori   It’s not music-related, but I’m happy to be invited to the events held in Fussa. New Year’s mochi-pounding, barbecues, open-base events, and so on. We get to talk with people we normally don’t have a chance to speak with at events, make new connections there, and sometimes those people come to our shows.

NAO   It’s fun because we can always hang out on equal terms, and having everyone around gives us a sense of security! My place is farther away now, so I haven’t been able to visit much lately, but I still really like both the people and the place!

-Do you have any plans for the future? Anything you’d like to do?

Rie   I’d like to play live in South America or parts of Asia where we haven’t toured. There’s a song I secretly think would make a great single, so I’d like to have a single record by my band (laughs).

Miku   A show at a sideshow on Coney Island, America!

Saori   As for recordings, we’ve accumulated quite a few new songs, so I hope we can make a new album toward the end of this year or the beginning of next year. As for live shows, I’d like to perform in countries where not many other bands have played. South America sounds like it would be fun. I’ve also heard that Mongolia has a pretty interesting club scene, so I’m curious about it!

NAO   I recently started another band under the name The SCUMS, so please check them out too! I use fuzz, the piano turns into an organ, and we have fun playing around with different colors!

-Lastly, do you have a message for your fans or for people who don’t know the band yet?

Rie   Well, if you can, please come see us live! I’d be happy if you thought, “This is kind of fun.” See you somewhere.

Miku   Even if you just happened to come across this by chance, we’ll keep playing live, so please come see us♪

Saori   With this reissue, our first single is easier to get your hands on, so if you’ve been curious, please check it out!

We’d also be happy if you came to one of our shows when you have the chance. Thankfully, we’re always invited to wonderful events, so I think you can enjoy the other performers and DJs as well as us!

NAO   I’m truly grateful to everyone who comes to our shows and listens to our recordings! If you don’t know us yet, I really hope you’ll come see us live!

Afterword

　When we first met them more than a decade ago, they were still promising young newcomers on the scene. Now, it’s incredibly gratifying to see them making rock ’n’ roll right at the heart of the scene. Alongside The 5.6.7.8’s, Jackie & The Cedrics, Guitar Wolf, and the many other internationally acclaimed bands that continue to lead the scene, they are sure to keep making it even more exciting!

　It may be an extremely niche scene by general standards, but when you fall in love with “rock ’n’ roll,” there’s no helping it. Let’s draw energy from these lively musicians and live life to the fullest! They play live often, so if you get the chance, please come see them!

LIVE SCHEDULE 2024

7/6 (Sat) Norogaru Night @ Hatagaya Club Heavy Sick
7/7 (Sun) @ Shibuya Organ Bar 
7/13 (Sat) Back From The Grave Returns @ Higashi-Koenji UFO Club 
8/4 (Sun) @ Ogikubo Top Beat Club 
8/11 (Sun) Back From The Grave Returns @ Enoshima Oppa-la 
8/12（月）@調布Cross 
8/17 (Sat) @ Gotenba RINCOLO
8/31 (Sat) @ Shinsaibashi Club STOMP