I think the answer strongly depends on what one thinks "going to church" means.
Germanus, Patriarch of Constantinople in the 8th century, once said, "The church is an earthly heaven in which the heavenly God dwells and moves." Kallistos Ware, an Orthodox bishop and former lecturer at Oxford University, provides this background on Orthodox Christian services The Orthodox Church:
Orthodoxy sees human beings above all else as liturgical creatures who
are most truly themselves when they glorify God, and who find their
perfection and self-fulfilment in worship. Into the Holy Liturgy which
expresses their faith, the Orthodox peoples have poured their whole
religious experience. It is the Liturgy which has inspired their best
poetry, art, and music. Among Orthodox, the Liturgy has never become
the preserve of the learned and the clergy, as it tended to be in the
medieval west, but it has remained popular – the common possession of
the whole Christian people.
Quoting from Austin Oakley's 1958 book, The Orthodox Liturgy, he writes:
The normal Orthodox lay worshipper, through familiarity from earliest
childhood, is entirely at home in church, thoroughly conversant with
the audible parts of the Holy Liturgy, and takes part with unconscious
and unstudied ease in the action of the rite, to an extent only shared
in by the hyper-devout and ecclesiastically minded in the west.
While most Orthodox Liturgies have a sermon, the Liturgy itself serves as a theological lesson. The service itself is over 1,000 years old (some parts date back to the time of the Apostles). It is chanted from beginning to the end by a choir and there are no instruments. For the most part, the hymns are composed of Psalms and passages from Scripture, interposed with verses poetic commentary.
Metropolitan Hilarion Alfayev, Chairman of the Russian Orthodox Department for External Church Relations, said this about the Orthodox Liturgy:
Orthodox divine services, whether it be the Liturgy, vespers, matins,
hours, nocturnes or compline, are a totally different matter [from
western services]. From the priest’s exclamation at the very beginning
of the service we are immersed in an atmosphere of uninterrupted
prayer, in which psalms, litanies, stichera, troparia, prayers and the
celebrating priest’s invocations follow one another in a continuous
stream. The entire service is conducted as if in one breath, in one
rhythm, like an ever unfolding mystery in which nothing distracts from
prayer. Byzantine liturgical texts filled with profound theological
and mystical content, alternate with the prayerful incantation of the
psalms, whose every word resonates in the hearts of the faithful. Even
the elements of “choreography” characteristic of Orthodox services,
such as solemn entries and exits, prostrations and censing, are not
intended to distract from prayer but, on the contrary, to put the
faithful in a prayerful disposition and draw them into the theourgia
in which, according to the teaching of the Fathers, not only the
Church on earth, but also the heavenly Church and even the angels
participate.
Regarding the texts used during the Liturgy, he writes:
In my view, liturgical texts are for Orthodox Christians an
incontestable doctrinal authority, whose theological irreproachability
is second only to Scripture. Liturgical texts are not simply the works
of outstanding theologians and poets, but also the fruits of the
prayerful experience of those who have attained sanctity and theosis.
The theological authority of liturgical texts is, in my opinion, even
higher than that of the works of the Fathers of the Church, for not
everything in the works of the latter is of equal theological value
and not everything has been accepted by the fullness of the Church.
Liturgical texts, on the other hand, have been accepted by the whole
Church as a “rule of faith” (kanon pisteos), for they have been read
and sung everywhere in Orthodox churches over many centuries.
Throughout this time, any erroneous ideas foreign to Orthodoxy that
might have crept in either through misunderstanding or oversight were
eliminated by Church Tradition itself, leaving only pure and
authoritative doctrine clothed by the poetic forms of the Church’s
hymns.
This holds true above all for the daily cycle of
services prescribed by the Orthodox Typicon, as well as for the weekly
and yearly cycle found in the Octoechos, Lenten Triodion,
Pentecostarion and Menaia, whose liturgical texts contain
interpretations of and reflections on many episodes from the life of
Christ and aspects of His teaching. In this sense one can say that
liturgical texts are a “Gospel according to the Church”. During the
ecclesiastical year, from the Nativity to the Ascension, the earthly
life of Christ passes by the spiritual gaze of the faithful.
Liturgical texts bring us close to Christ at His birth in Bethlehem,
on Mount Tabor when He was transfigured, in the upper room on Zion
during the Last Supper and on Calvary with the Crucifixion.
Orthodox Worship as a School of Theology, Lecture delivered at the Kiev Theological Academy on September 20, 2002
I would also add that the church setting itself serves as an invitation to prayer as well as a theological lesson. Although Orthodox churches may seem overly ornate to some, everything in the church serves a distinct purpose. The photo below shows a portion of the church known as the iconostasis. This particular example is from St. Catherine's monastery in the Sinai Desert.
St. Catherine's Monastery, Sinai Desert, Egypt:

Iconostasis within main chapel of the monastery:

An anonymous monk describes the structure of the iconostasis:
The Holy Fathers envisioned the church building as consisting of three
mystical parts. According to Patriarch Germanus of Constantinople, a
Confessor of Orthodoxy during the iconoclastic controversies (7th-8th
Centuries), the church is the earthly heaven where God, Who is above
heaven, dwells and abides, and it is more glorious than the [Old
Testament] tabernacle of witness. It is foreshadowed in the
Patriarchs, is based on the Apostles..., it is foretold by the
Prophets, adorned by the Hierarchs, sanctified by the Martyrs, and its
high Altar stands firmly founded on their holy remains.... Thus,
according to St. Simeon the New Theologian, the [Vestibule]
corresponds to earth, the [Nave] to heaven, and the holy [Altar] to
what is above heaven [Book on the House of God, Ch. 12].
Following these interpretations, the Iconostasis also has a symbolic
meaning. It is seen as the boundary between two worlds: the Divine and
the human, the permanent and the transitory. The Holy Icons denote
that the Savior, His Mother and the Saints, whom they represent, abide
both in Heaven and among men. Thus the Iconostasis both divides the
Divine world from the human world, but also unites these same two
worlds into one whole a place where all separation is overcome and
where reconciliation between God and man is achieved. Standing on the
boundary between the Divine and the human, the Iconostasis reveals, by
means of its Icons, the ways to this reconciliation.
A
typical Iconostasis consists of one or more tiers (rows) of Icons. At
the center of the first, or lowest, tier, are the Holy Doors, on which
are placed Icons of the four Evangelists who announced to the world
the Good News the Gospel of the Savior. At the center of the Holy
Doors is an Icon of the Annunciation to the Most-Holy Theotokos, since
this event was the prelude or beginning of our salvation. Over the
Holy Doors is placed an Icon of the Last Supper since, in the Altar
beyond, the Mystery of the Holy Eucharist is celebrated in remembrance
of the Savior Who instituted the Sacrament at the Last Supper.
At either side of the Holy Doors are always placed an Icon of
the Savior (to the right) and of the Most-Holy Theotokos (to the
left). In addition, next to the Icon of the Savior is placed that of
the church, i.e., an Icon of the Saint or Event in whose honor the
church has been named and dedicated. Other Icons of particular local
significance are also placed in this first row, for which reason the
lower tier is often called the Local Icons. On either side of the Holy
Doors, beyond the Icons of the Lord and His Mother, are two doors
Deacon's Doors upon which are depicted either sainted Deacons or
Angels who minister always at the heavenly Altar, just as do the
earthly Deacons during the Divine services.
Ascending above
the Local Icons are several more rows (or tiers) of Icons. The tier
immediately above are those representing the principal Feasts of the
Lord and the Theotokos. The next tier above that contains Icons of
those Saints closest to the Savior, usually the Holy Apostles. Just
above the Icon of the Last Supper is placed an Icon of the Savior in
royal garments, flanked by His Mother and St. John the Baptist, called
the Deisis (prayer), since the Theotokos and the Forerunner are turned
to Him in supplication. As these Icons (Apostles, Theotokos, and
Forerunner) are arranged in order on either side of the Savior the
tier is usually called the Tchin (or rank). Often this tier was to be
found just above the Local Icons and below the Feast Day Icons.
The next row usually contains the Old Testament Saints
Prophets, Kings, etc. in the midst of which is the Birthgiver of God
with the Divine Infant Who is from everlasting and Who was their hope,
their consolation, and the subject of their prophecies. If there are
more tiers, Icons of the Martyrs and Holy Bishops would be placed
above the Old Testament Saints. At the very top of the Iconostasis is
placed the Holy Cross, upon which the Lord was crucified, effecting
thereby our salvation.
Excerpt from "These Truths We Hold - The Holy Orthodox Church: Her Life and Teachings"
So I do not have a simple answer for why I "go to church", as it entails all of the above. There is an account of how the pagan Prince of Kiev, Vladimir, desired to know "the true religion", sometime around the 9th century. Kallistos Ware (op. cit.) recounts:
[He] therefore sent his followers to visit the various countries of
the world in turn. They went first to the Muslim Bulgars of the Volga,
but observing that these when they prayed gazed around them like men
possessed, the Russians continued on their way dissatisfied. ‘There is
no joy among them,’ they reported to Vladimir, ‘but mournfulness and a
great smell; and there is nothing good about their system.’ Travelling
next to Germany and Rome, they found the worship more satisfactory,
but complained that here too it was without beauty. Finally they
journeyed to Constantinople, and here at last, as they attended the
Divine Liturgy in the great Church of the Holy Wisdom [Hagia Sofia],
they discovered what they desired. ‘We knew not whether we were in
heaven or on earth, for surely there is no such splendour or beauty
anywhere upon earth. We cannot describe it to you: only this we know,
that God dwells there among humans, and that their service surpasses
the worship of all other places. For we cannot forget that beauty.’