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Their sound is normally of light but very present guitars accompanied mainly by keyboard, bass and drums, but with a ton of other instruments in the background. While most songs have a grooving tempo fit for summer parties, they can also be appreciated on a more personal level when listening to the emotional layer hidden beneath the surface. They also make a lot of slower and cheerless songs where the melancholy isn't hidden at all.
My theory is that this addiction is due to the constant yet subtle changes of tempo and styles in the songs, combined with the unfaltering diversity throughout albums. There's always a surprise waiting for you in a GOING UNDER GROUND song whether it is a new set of percussion, new sounds or a play with vocals. Instead of returning to its original point after the chorus like what we are used to, nearly all songs just keep evolving and changing from then on, until the end, never letting a dull moment slip by. A big factor in this diversity is the high emphasize on synthesized sounds and how they are not only used as sampled effects, but also as main or secondary melodies and as solos. Ito Yoichi has a wonderful imagination and uses strings to their full potential without ever going overboard. Also, the lead vocals, again by Matsumoto So, make things even more special. He does not have a very strong voice with a huge range, but instead sounds like a regular guy that has a lot on his mind and heart. Without understanding the lyrics, it is very easy to empathize with such a voice. Almost everyone in GOING UNDER GROUND lends his voice once in a while as main or backup and each have the same guy-next-door appeal but are easily recognizable.
Many live performances eventually gave birth to Cello, a first mini-album released independently. After that, they began a modest but nation-wide tour, gaining recognition at every stop. Their first full album was self-titled and came out in May, 2000. Things really started to pick up from then on; the Oricon monthly sales chart steadily placed them in the top thirties after every release. They have easily taken the top 5 with their latest album. The TUTTI tour reflected their new popularity. They have been filling up very large auditoriums filled with what looks like die hard fans. The DVD of this tour is available as well as a Best of compilation. These are usually crucial times in the time of a band; being able to stay together and produce quality stuff with so much more pressure on your shoulders sometimes asks too much of a member or two. Nevertheless, the future looks very bright for GOING UNDER GROUND. I am very proud to see them come this far.
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Heart Beat
Even if it has been followed by a couple of remarkable works, Heart Beat remains my favourite. Songs are all hits individually but also work oh-so-well together. It feels like Nijigoka is not as good as it could be if it not followed by Beaters... that probably sounds silly. In any case, get this album, then TUTTI, then h.o.p.s.. The Best of is an option too if you are on a budget. It is missing a few key songs in my opinion but is still filled with GOING UNDER goodness. |
I hesitated a lot before putting Tokyo up there. I think it is a gorgeous song that embraces Matsumoto's soft wistful voice and has a gently evolving melody full of surprises. It might however not be the best ambassador for the band and has the potential to bore a select few. Here goes nothing.
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Official Sites: http://aquamusic.co.jp/going/ http://www.jvcmusic.co.jp/going/
(Tip: use AltaVista's Babel Fish translator) |
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Quite
ironic that
this band started underground and have steadily climbed
up towards the top since their official debut six years
ago. The closest musical reference I could give to
someone who has never heard of them would
probably be 
The
band might still be underground if it was not for Matsumoto So,
the mastermind of most of GUG's songs. Behind
these big-framed glasses is a brilliant mind. His
compositions may seem simple at first, until you start
wondering why you are so addicted to them, never being
able to stop listening to the same albums over and over
again. 
All five members graduated from the Saitama prefecture in Okegawa, Japan,
but Kono Takehiro joined the band a bit later when
Satoshi and Yoichi (who was handling the drums at the
time) temporarily left the band for school-related reasons. When they
came back, Ito Yoichi did not reclaim his seat behind the skins. While
he still takes care of the percussion in many songs, he bowed down to Takehiro's
superior drumming talents and decided to concentrate on the keyboard. It
turned out to be a perfect arrangement as their style started to become
more unique and refreshing.
