(L to R: Bunny, Yoshitaka Kozeni, Keigo Iwami, Mariko Goto, Hajime.)

First impressions can be deceiving. The first time I saw Midori was at a small club called Zher The Zoo in Yoyogi. Having no context in which to place the promo image posted outside the club (which featured a young woman in a schoolgirl outfit lying ravaged on the floor,) our little group had some reservations: this looks kinda sadistic. Do we really want to see this?

The other bands on the bill convinced us to go in anyway: maybe we could duck out when Midori took the stage. Thank God we didn't, as that first impression was WAY off. What had at first looked like an abused girl was actually Midori vocalist Mariko Goto, looking weak and innocent while quietly waiting for her chance to pounce like a crazed tiger. And pounce she did, psychotically rocketing from the stage the second the lights came up, daring us to watch as her band launched into a brutal cacophony that sounded like The Birthday Party on steroids.

After we picked our jaws up off the floor, we quickly reached a consensus. (1) Never trust first impressions. (2) We had to see them again, as soon as possible. (3) It's too bad that bands like this will never hit the big time.

We were wrong about a lot of things that night. For about six months later, Midori had signed to Sony, and their new EP "Shimizu" was in the front display of every Tower Records and HMV in Tokyo. The clubs got bigger, the tickets sold out a lot faster, and now, a little less than two years after that night in Yoyogi, Jrawk finds itself in a large office in Sony's Tokyo headquarters, seated at a table with keyboardist Hajime, drummer Yoshitaka Kozeni, and that "ravaged" young woman. Midori then proceeded to clarify a few things...

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JR: How did the band come together?

MG: When I was in Usagi, we were friends with Kozeni's band, we had known each other for a while.

YK: Yeah, then the bass player we started with wanted to play in another band with Mariko, and they asked me to drum. We were a cover band, playing kayōkyoku.

Usagi's "Akemi-san and Midori-san" (2003)

JR: What was Kozeni’s original band's name?

YK: (pauses, thinks) Hmm... (thinks some more, stops, everybody laughs) Teromeya.

JR: When did Hajime join?

HJ: Before, they had four people, sometimes they'd have dancers, or other members that would contribute some kind of noise. I saw them with that setup. After I saw them a few times...I was kind of bored at the time, so I asked if I could join.

JR: It's an interesting lineup. Instead of a rock band with jazz influence, you're a jazz band that plays like a rock band.

HJ: (nods) But the first time I saw them, I didn't hear any jazz influence.

YK: After he joined, we got an upright bass player, then put out our first album. It wasn't until then that people started talking about the jazz influence.

JR: Hmm...interesting, because it seems that you've been moving closer to jazz recently. The last studio album, as well as your recent live album, have introduced some free form improv.

YK: (Bassist) Iwani-san joined last year, he's a free jazz player. He's been keeping us going in that direction.

JR: So, how do the songs happen? Do you start with improv?

MG: Everybody comes in with ideas.

YK: There are a lot of different ways. Sometimes someone will just start playing something in the studio, and if it's working, we'll all join in. Everyone contributes something at some point...sometimes, somebody will come in with a more complete idea. There's no one way we do it.

JR: Really? The band has a very strong image, almost like it comes from one person.

"Swing" (2009)

YK: We don't really think about having a strong concept. It just naturally emerges.

HJ: Yeah, we haven't explicitly decided on one unified idea, but each person in the band has their own view of what we're reaching for, and everything just naturally comes together.

JR: So far as that, why does Mariko always wear a schoolgirl uniform, and why does she always have gaffer tape on her legs?
 
MG: It makes my legs look skinny. (everybody laughs) I thought that if there was a girl on stage wearing a skirt, it would keep people's attention.

JR: Is there any anime, or manga influence? The idea of an angry, vengeful schoolgirl seems to come right from manga.

MG: It's actually from Japanese Jun Bungaku (NOTE: "Jun Bungaku" literally translates into "pure literature"): writers like Junichiro Tanikazi, and Taisho Roman (NOTE: the Taisho Roman period was roughly 1912 to the mid 20s.)

JR: There's a lot of almost violent energy in your shows. Do you ever get hurt?

MG: I broke my finger once! But really, beyond that, not so much.

JR: How did the new single ("Swing") come about?

MG: We were in the studio, and Iwami-kun started playing, and he asked Kozami-kun to come up with a beat. After a couple of tries, we started getting the shape of a song.

"First" (2005)

JR: How did Takuya (former Judy And Mary/Robo+s guitarist) get involved?

HJ: I got drunk at his party! (laughs) I got drunk and introduced myself to him. Takuya-san was having an after show party...but I went, none of the people I knew were there! So I stood there, then finally thought "OK, this is my chance."

I had a drink to calm my nerves enough to talk to him. But I ended up drinking too much! It worked out, though, he was interested (grins.)

JR: I've seen some reference to calling Midori the Osaka Judy And Mary. (everybody laughs)

HJ: When "First" came out, we had a promo flyer said "Osaka's warped Judy and Mary." We never expected to actually play with Takuya!

JR: Outside of Takuya's contribution to "Swing," there's been less guitar in the newer material.

MG: (The album) "Live!!" didn't have electric guitar because it was raining like hell!

YK: (nods) Yeah, that show was outside. That's just the way it worked, it wasn't a conscious decision.

JR: It's interesting to see a band as unusual as Midori get a big push from Sony, right alongside more typically pop acts as Kaela Kimura. Do you ever feel pressured to tone it down?

YK: No, not at all. We've been really happy with it so far.

MG: Guitar Wolf is through Sony as well!

"Live!!" (2008)

HJ: Yeah, they've (Sony) really given us a lot of freedom. We're pretty happy with them.

JR: I'm thinking of the "Romantic Summer Mode" video, where Mariko kills everyone with guns and swords. Do you consider yourself a dangerous band?

MG: (looks JR directly in the eye) No! (everyone laughs) It's all just from Taisho Roman!

JR: Do you have a favorite Midori album?

HJ: I'm always listening to the most recent one.

YK: It's hard to choose, really. I like everything so far.

MG: Me too.

JR: What sort of music did you listen to growing up?

HJ: Judy and Mary! Some J-pop, heavy metal, prog rock.

JR: Japanese, or foreign?

HJ: Well, I don't really listen to Japanese heavy metal! (laughs)

YK: Not rock bands so much, but koto drumming, hand drums, kid drums.

JR: Yeah, that makes perfect sense! (everybody laughs)

"Hello Eveyone, Nice To Meet You, We're Midori" (2008)

YK: (laughing) Yes, thank you!

MG: Judy and Mary, Janis Joplin, Santana...Kazuki Tomokawa...and Bis.

JR: You formed in Osaka, which is known for having a pretty big indie scene, but recently, you moved to Tokyo.

MG: (nods) Yeah.

JR: Which do you prefer?

HJ: Osaka. (everybody laughs)

MG: You've been to Osaka?

JR: Yup.

MG: Nice, yeah?

JR: It definitely seems more laid back.

MG: Yeah, I agree.

JR: Speaking of Judy and Mary, you're going to do "Music Fighter" for an upcoming Judy and Mary tribute. That seems like a pretty clear choice, seeing as how it's a jazzy track that could fit right in to your own albums

MG: Still, it took some time to decide. We debated it for a while.

JR: Is there anything you'd like to add?

MG: Yeah. Enjoy yourself!!