From Day One to the Present: NITRO MICROPHONE UNDERGROUND

The Roots of Authenticity

Japanese hip-hop’s early history was anchored in Tokyo, where a generation captivated by rap’s refined style watched as the genre entered its first domestic boom. By the mid-1990s, tracks like “DA.YO.NE” pushed hip-hop into the mainstream, but beneath the surface, a divide emerged between commercial “pop” rap and the underground. While the media turned “check it out” into a meme, the underground scene rejected commercialism, with artists quietly sharpening their skills through intense competition.

The genba (frontline) of this movement was Shibuya’s Club CAVE, where the event “A BAOA QU” became a sanctuary for individuals who shared a “fly” conviction – a space where figures from music and fashion searched for like-minded peers. Here, the blueprint for NITRO MICROPHONE UNDERGROUND (NMU) began to form through organic connections rather than a calculated plan to start a group.

Formation and the “Reality” of the Scene

The future members were already fixtures in the Shibuya and Harajuku scenes: MACKA-CHIN and XBS were high school classmates; GORE-TEX and S-WORD worked in Shibuya; while SUIKEN and DABO ran events in Nishi-Azabu. Their bond deepened naturally through the shops and clubs they frequented. When they were offered a monthly residency at CAVE, the parties quickly became legendary.

In an era when recording equipment was scarce, rappers typically performed original lyrics over imported US 12-inch instrumentals — a practice in which one’s taste was judged by their choice of beat. As these vibrant parties drew staff from iconic record shops like Manhattan Records and CISCO, a collective of roughly 30 people solidified under the loose banner of “about NITRO MICROPHONE UNDERGROUND.” This momentum caught the eye of Kazuteru Maekawa of Lexington Co., Ltd., who proposed a collaboration. Despite a lingering aversion to “selling out,” those who remained committed – while others left for conventional jobs – formed the core of NMU.

The Shibuya Udagawa Spirit

The 1999 release of “REQUIEM” – a four-man mic relay featuring MACKA-CHIN, S-WORD, GORE-TEX and an uncredited SUIKEN – helped position Udagawacho as a global epicenter of culture. The area was defined by an intimidating atmosphere created by “unapologetically arrogant” record and clothing store staff. This environment acted as a “meaningful barrier” that forced young fans to become hungrier and more discerning – a sensibility that NMU embodied as the first group to truly emerge from that specific terrain.

The group name itself was a mix of spontaneity and radio-controlled car culture, with “Nitro” referencing nitroglycerin and “Microphone” paying homage to MICROPHONE PAGER. Under Maekawa’s guidance, what was once a catchphrase in artwork became the official group name to promote their first CD, Nitro Works.

Major Success and the Def Jam Era

NMU redefined Tokyo hip-hop by focusing on a localized reality: the inside jokes and mischief of the Harajuku-Shibuya radius. In 2000, they released their signature classic, “NITRO MICROPHONE UNDERGROUND,” featuring all eight members. BIGZAM’s iconic lyric, “Shibuya Udagawa-hatsu” (“Shibuya Udagawa-born”), became the group’s definitive slogan.

Their self-titled debut album was an explosive success. Initially released as a limited 20,000-unit pressing via Reality Records, it sold out instantly. This served as a springboard for a major deal with Def Jam Japan, making NMU the first release in the label’s domestic catalog. While the move to a major label provided massive exposure in magazines like WOOFIN’ and Fine, the transition was not without friction regarding creative control and financial returns.

In response, the members took control of their business interests by launching Night Rich Co., Ltd. and the apparel brand NITROW. The repackaged major album eventually sold over 150,000 copies, propelling the members into successful solo careers at major labels like Sony and Victor. This era marked the transition of NMU from a loose underground collective into a multifaceted cultural operation.

In the early 2000s, “selling out” was a term of hostility aimed at artists who lost creative control upon signing to a major label. NMU, however, managed to erase this stigma. Their stance was uncompromising: if they couldn’t maintain creative control, they wouldn’t sign. By choosing major-label staff they could trust, they proved that financial success didn’t require sacrificing the integrity of their music.

Breaking the Mold of Japanese Rap

The same year that NMU released their self-titled debut, they swept the annual awards of blast magazine (Japan’s premier hip-hop publication), winning both Best Group and Best Album. At the time, the magazine did not distinguish between domestic and international acts, choosing instead the year’s most symbolic artists. NMU notably claimed the top spot over global heavyweights like Wu-Tang Clan, OutKast and De La Soul.

While these accolades suggested a fully formed scene, the era was actually one of significant trial and error. Skepticism toward Japanese-language rap remained deeply rooted, and critics often dismissed NMU as mere Wu-Tang imitators. However, the group’s arrival was groundbreaking; their production quality stood shoulder-to-shoulder with US mainstream releases, effectively overturning the mindset of those who refused to acknowledge the legitimacy of Japanese rap.

A Rare Major-Label Clean Sweep

NMU’s sensational presence was best exemplified by a rare feat: eventually, all eight members signed solo contracts with major labels. This was not merely due to the group’s commercial momentum, but the result of solo groundwork each member had laid prior to their collective breakthrough.

Following the impact of their Def Jam Japan debut, SUIKEN was the first to charge into the major arena with Sony in 2001, followed closely by DABO and S-WORD. These solo ventures allowed members to move beyond ‘90s boom-bap, embracing a modern sonic landscape that included Neptunes-esque grooves and avant-garde experiments. MACKA-CHIN noted that the major-label environment provided high-tier studios and the resources to obsess over every detail, allowing them to maintain an uncompromising work ethic.

Bridging the Gap and Expanding the Empire

Beyond solo albums, the members strengthened their individual names through high-profile collaborations. They bridged the subtle distance between domestic hip-hop and the rising R&B scene, featuring on tracks by artists like bird, wyolica and Namie Amuro.

The collective’s reach expanded further through side projects like MABO (MACKA-CHIN and DABO) and AQUARIUS (DELI and YAKKO). By 2003, while GORE-TEX and BIGZAM were the only members yet to release solo records, the group’s influence remained untouchable. Simultaneously, XBS was busy co-founding the apparel brand nitrow, further cementing Nitro’s status as a multifaceted cultural powerhouse.

The Birth of nitrow and the Independent Spirit

At the turn of the 21st century, Shibuya’s Udagawacho had a distinct “reflexive uniform.” In summer, the streets were filled with Tommy Hilfiger, Ralph Lauren and Nautica; in winter, they were camouflaged by The North Face and First Down jackets. Paired with Timberland boots, Air Force 1s and the essential durag or chew stick, this attire was a cultural rite of passage. NMU was the ultimate embodiment of this aesthetic, having filtered its sensibilities through the fashion hubs of Harajuku and Ueno.

Beyond music, the group operated like an “independent nation” through their apparel brand, nitrow (later nitraid). Unlike artists who simply licensed their names, they controlled production and distribution themselves. This led to a historic, deep collaborative relationship with Nike that produced exclusive, members-only sneakers.

The Nike Era: A Global Synergy

Under XBS’s leadership, nitraid achieved what was then unthinkable for a Japanese independent brand: a deep, collaborative relationship with Nike. This wasn’t a standard endorsement; it resulted in several exclusive sneakers, including members-only “Staff” editions and retail versions of the Air Force 1 and Delta Force. Their influence extended to global giants like Stüssy, New Era and Levi’s® Fenom. At its peak, nitraid was a cultural powerhouse, blending high-end craftsmanship with a raw, “fly” street sensibility that predated the modern era of rapper-led fashion empires by nearly two decades.

End of an Era and the Road to Hiatus

In early 2011, NMU released THE LABORATORY, an ambitious project designed to evolve their sound through outside producers. However, the Great East Japan Earthquake struck just two months later, halting the country’s entertainment industry and making the group’s planned nationwide NITRO CAMP tour impossible. MACKA-CHIN recalls that the disaster shifted national priorities toward survival rather than fashion or music.

On another note, nitraid’s success was built on an uncompromising – and expensive – vision. Their seasonal exhibitions were legendary, featuring elaborate sets like a full-scale skate park inside a club. However, this commitment to “the ultimate experience” became a financial burden. The aftermath of the 2008 global financial crisis and the 2011 Tohoku earthquake added to the brand’s severe strain.
Combined with internal financial disputes and the fact that each member was branching out into their own “family trees,” NMU effectively entered a period of inactivity starting in 2012. A year later, nitraid also declared bankruptcy in 2013 with debts totaling ¥250 million JPY. XBS reflects on this period not with regret, but as a rare, valuable life experience that few in the industry ever encountered.

Solo Ventures, Tokyo 25-ji and New Challenges

During the seven-year hiatus, the members respected an unspoken rule of creative freedom, never interfering in each other’s solo pursuits. A notable milestone during this period was Tokyo 25-ji, a unit featuring DABO, MACKA-CHIN, SUIKEN and S-WORD. Overseen by DJ HAZIME and featuring legendary producers like MURO and DJ WATARAI, the project marked a dramatic reunion with their former home, Manhattan Records. DABO noted that this era allowed them to move beyond youthful bravado and imbue their purest emotions into lyrics about life and death.

The hiatus also saw the members embrace diverse new roles. In 2014, DELI successfully ran for the Matsudo City Council, using his platform to address social issues like anti-nuclear activism; he is currently serving his third term. MACKA-CHIN explored ambient music and DJ compilations, while DABO launched the label Feel No Pain. XBS pursued photography under his real name, Nobuhiro Fukami, and served as creative director for basketball media like FLY. Meanwhile, GORE-TEX launched the apparel brand raidback® fabric and BIGZAM pursued acting under his real name, Hiroyuki Shintani.

Reunion, Rebirth and the Vision for 2026

In 2019, all eight members reunited for their 20th anniversary, heralded by the track “LIVE19” — a homage to their debut “LIVE99”. Following a sold-out reunion show, S-WORD stepped away to focus on solo work, leaving NMU as a seven-member unit. Embracing a “natural, relaxed mindset,” the group began collaborating with younger creators and producers like Numb and PART2STYLE, releasing the album SE7EN in 2022.

NMU’s enduring influence was vividly displayed in 2024 when the group BAD HOP sampled them for the “8BALL CYPHER,” bridging the gap between Udagawacho and a new generation. Now in 2026, the group remains prolific, releasing singles like “SHUTTA,” “Day One,” “Black Moon”, “G.U.I.” and “Eclipse” as they prepare for their sixth album.MACKA-CHIN reflects that while they are often viewed as legends, their ultimate goal remains to break out and truly become musicians. As Utamaru (RHYMESTER) observes, NMU remains the iconic presence of Tokyo hip-hop — an “invincible fleet” that continues to kill it decades later.