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Ging Nang Boyz

Just like a debauched Day-Glo phoenix, Ging Nang Boyz rose from your still-smoldering ashes of japan quartet Going Steady in the planting season of 2003. The initial band’s engine and songwriter, Mineta Kazunobu (vocals/acoustic guitar), rechristened himself Ging Nang Boyz, reunited with bassist Abiko Shinya and drummer Murai Mamoru, changed guitarist Asai Takeo with Chin Nakamura of Snotty, and led the group on some riotous trips. GNB’s audio may hark back again to the Buzzcocks and the complete Lookout! Information catalog, however the group also displays a far more unorthodox propensity toward an “visual of mess.” Be it a 60-second blitzkrieg or a ten-minute sprawl, each GNB monitor is certainly stuffed beyond the brim; concepts, riffs, and shrieks show up and blend unexpectedly. Capturing both sensory avalanche of lifestyle within a 21st hundred years megacity as well as the resultant wish to liberate, the thickness of GNB’s ecstatic task makes the “pop-punk” label itself much less derogatory. GNB’s January 2005 debut with Skool was almost 2 yrs in the producing. Fittingly, it emerged in two simultaneous installments: Kimi to Boku no Daisanji Sekai Taisenteki Renai Kakumei (…Youthful Alive in Like) and Door. The amount, 29 paths or two . 5 hours in every, is certainly a freewheeling hardcore medley dosed with punk-caffeinated folk, funk, and pop. The achievement of the film Iden&Tity (2003), which highlighted Kazunobu within a starring function, helped the albums reach 6th and seventh, respectively, in the Oricon graphs. Both before and after launching their debuts, GNB toured Japan and provided a small number of high-energy shows in the U.S., notably on the Bay Region Cuddle Shows with Berkeley’s famed 924 Gilman Road. Kazunobu’s crowd-pleasing acrobatics and his rock and roll superstar proclivity for open public nudity repeatedly arrived him in big trouble with the regulators — once to get a display before a group of 45,000 on the 2005 Rock and roll in Japan celebration and double at displays in Taiwan. In Apr 2007, GNB celebrated their brash live personas using a Dvd movie compilation of concert video footage, Bokutachi wa Sekai wo Kaeru Koto ga Dekinai (WE CAN NOT Change the Globe). An individual followed four a few months afterwards. The anthemic A-side, “Ai Don Wana Dai” (I Don’t Wanna Die), demonstrated well-known in Japan, charting up to sixth and offering almost 50,000 copies. The matching video garnered interest because of its hysterical depiction of the Internet café orgy.

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