Trip hop
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| - | "One influence came from [[Gary Clail]]'s [[Tackhead]] soundsystem. Clail often worked with former [[The Pop Group]] singer [[Mark Stewart (musician)|Mark Stewart]]. The latter experimented with his band Mark Stewart & the Maffia, which consisted of New York [[session musician]]s [[Skip McDonald]], [[Doug Wimbish]], and [[Keith LeBlanc]], who had been a part of the house band for the [[Sugar Hill Records (rap)|Sugarhill Records]] [[record label]]. Produced by [[Adrian Sherwood]], the music combined hip hop with experimental rock and dub and sounded like a premature version of what later became trip hop." --Sholem Stein | + | "One influence on [[trip hop]] came from a combination of the [[Tackhead]] sound system, [[On-U Sound Records]], [[Mark Stewart (musician)|Mark Stewart]] and [[Adrian Sherwood]] who combined [[hip hop]] with [[experimental rock]] and [[dub music]]." --Sholem Stein |
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| Deriving from later idioms of [[acid house]], the term was first used by the British music media to describe the more [[experimental music|experimental]] variant of [[breakbeat]] emerging from the [[Bristol Sound]] scene in the early 1990s, which contained influences of [[soul music|soul]], funk, and jazz. It was pioneered by acts like [[Massive Attack]], [[Tricky (musician)|Tricky]], and [[Portishead (band)|Portishead]]. Trip hop achieved commercial success in the 1990s, and has been described as "Europe's alternative choice in the second half of the '90s." | Deriving from later idioms of [[acid house]], the term was first used by the British music media to describe the more [[experimental music|experimental]] variant of [[breakbeat]] emerging from the [[Bristol Sound]] scene in the early 1990s, which contained influences of [[soul music|soul]], funk, and jazz. It was pioneered by acts like [[Massive Attack]], [[Tricky (musician)|Tricky]], and [[Portishead (band)|Portishead]]. Trip hop achieved commercial success in the 1990s, and has been described as "Europe's alternative choice in the second half of the '90s." | ||
| - | ==Characteristics== | + | Common musical aesthetics include a bass-heavy drumbeat, often providing the slowed down [[breakbeat]] [[samples]] similar to standard 1990s hip hop beats, giving the genre a more psychedelic and mainstream feel. |
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| - | ===Mainstream breakthrough=== | + | |
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| - | | filename=Massive Attack - Teardrop.ogg | title="Teardrop" | description=Sample of "[[Teardrop (Massive Attack song)|Teardrop]]" by [[Massive Attack]], from ''[[Mezzanine (album)|Mezzanine]]''|format=[[Ogg]] "}} | + | |
| - | [[File:Massive attack at stereoleto.jpg|thumb|[[Massive Attack]], a British trip hop group that helped bring the genre to mainstream success in the 1990s<ref>{{cite web|last=Ankeny |first=Jason |url=http://www.allmusic.com/artist/p13625 |title=Massive Attack - Music Biography, Credits and Discography |website=AllMusic |accessdate=25 April 2013}}</ref>]] | + | |
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| - | [[Massive Attack]]'s first album ''[[Blue Lines]]'' was released in 1991 to huge success in the United Kingdom.<ref> Melissa Chemam, 'Massive Attack: Out of the Comfort Zone', 2019, https://www.bl.uk/events/massive-attack-out-of-the-comfort-zone </ref> ''Blue Lines'' was seen widely as the first major manifestation of a uniquely British hip hop movement, but the album's hit single "[[Unfinished Sympathy]]" and several other tracks, while their rhythms were largely sample-based, were not seen as hip hop songs in any conventional sense. Produced by [[Jonny Dollar|Dollar]], [[Shara Nelson]] (an R&B singer) featured on the orchestral "Unfinished", and Jamaican dance hall star [[Horace Andy]] provided vocals on several other tracks, as he would throughout Massive Attack's career.<ref> 'Massive Attack - Out of the Comfort Zone', Melissa Chemam, An Excerpt, https://humag.co/features/massive-attack</ref> Massive Attack released their second album entitled ''[[Protection (Massive Attack album)|Protection]]'' in 1994. Although Tricky stayed on in a lesser role, and Hooper again produced, the fertile dance music scene of the early 1990s had informed the record, and it was seen as an even more significant shift away from the Wild Bunch era. | + | |
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| - | In the June 1994 issue of UK magazine ''[[Mixmag]]'', music journalist Andy Pemberton used the term ''trip hop'' to describe the hip hop [[instrumental]] "[[In/Flux]]", a 1993 single by San Francisco's [[DJ Shadow]], and other similar tracks released on the [[Mo' Wax]] [[record label|label]] and being played in London clubs at the time. "In/Flux", with its mixed up [[Beats per minute|bpms]], [[spoken word]] [[Sampling (music)|samples]], strings, melodies, bizarre noises, prominent bass, and slow beats, gave the listener the impression they were on a musical [[psychedelic experience|trip]], according to Pemberton.<ref name="Mixmag">Pemberton, Andy (June 1994). "Trip Hop". ''Mixmag''.</ref> Soon, however, Massive Attack's dubby, jazzy, psychedelic, electronic textures, rooted in hip hop sampling technique but taking flight into many styles, were described by journalists as the template of the eponymous genre. | + | |
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| - | [[File:Tricky mp3h1944.jpg|thumb|upright|[[Tricky (musician)|Tricky]], a major trip hop artist]] | + | |
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| - | In 1993, Icelandic musician [[Björk]] released ''[[Debut (Björk album)|Debut]]'', produced by Wild Bunch member Nellee Hooper.<ref>{{Cite news|url=https://www.theguardian.com/music/musicblog/2013/jul/05/bjork-debut-20-years-of-innovation|title=Björk's Debut: celebrating 20 years of innovation|last=Cragg|first=Michael|date=2013-07-05|work=The Guardian|access-date=2019-12-16|language=en-GB|issn=0261-3077}}</ref> The album, although rooted in [[four-on-the-floor]] [[house music]], contained elements of trip hop and is credited as one of the first albums to introduce electronic dance music into mainstream pop.<ref>{{cite web|url=http://www.stereogum.com/1398922/bjorks-debut-turns-20/top-stories/|title=Debut Turns 20|website=StereoGum.com|accessdate=23 September 2014|date=2013-07-03}}</ref><ref>{{cite web|url=http://www.idolator.com/7470313/bjork-debut-anniversary-20-backtracking|title=Bjork's 'Debut' Turns 20: Backtracking|website=Idolator.com|accessdate=23 September 2014|date=2013-07-12}}</ref> She had been in contact with London's underground electronic music scene and was romantically involved with trip hop musician Tricky. Björk embraced trip hop even more with her 1995 album ''[[Post (Björk album)|Post]]'' by collaborating with Tricky and Howie B. ''[[Homogenic]]'', her 1997 album, has been described as a pinnacle of trip hop music.<ref name="bpmhomogenic">{{cite web |url=http://beatsperminute.com/reviews/second-look-bjork-homogenic/|title=Second Look: Bjork – Homogenic|last=Zercoe|first=Cole|date=21 November 2011|publisher=[[Beats per Minute (website)|Beats per Minute]]|accessdate=8 December 2014}}</ref> | + | |
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| - | 1994 and 1995 saw trip hop near the peak of its popularity, with artists such as [[Howie B]] and [[Earthling (band)|Earthling]] making significant contributions. [[Ninja Tune]], the [[independent record label]] founded by the [[Coldcut]] duo, would significantly influence the trip-hop sound in London and beyond with breakthrough artists [[DJ Food]], [[9 Lazy 9]], [[Up, Bustle & Out]], [[Funki Porcini]] and [[The Herbaliser]], among others. The period also marked the debut of two acts who, along with Massive Attack, would define the Bristol scene for years to come. | + | |
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| - | In 1994 [[Portishead (band)|Portishead]], a trio comprising singer [[Beth Gibbons]], [[Geoff Barrow]], and [[Adrian Utley]], released their debut album ''[[Dummy (album)|Dummy]]''. Their background differed from Massive Attack in many ways: one of Portishead's primary influences was 1960s and 1970s film soundtrack LPs.<ref>{{Cite news|url=https://www.theguardian.com/music/2019/aug/24/portishead-dummy-wasnt-a-chillout-album-25th-anniversary-geoff-barrow-adrian-utley-beth-gibbons|title=‘Dummy wasn’t a chillout album. Portishead had more in common with Nirvana’|last=Rogers|first=Jude|date=2019-08-24|work=The Observer|access-date=2019-12-16|language=en-GB|issn=0029-7712}}</ref> Nevertheless, Portishead shared the scratchy, jazz-sample-based aesthetic of early Massive Attack (whom Barrow had briefly worked with during the recording of ''Blue Lines''), and the sullen, fragile vocals of Gibbons also brought them wide acclaim. In 1995, ''Dummy'' was awarded the [[Mercury Music Prize]] as the best British album of the year,<ref>{{Cite web|url=https://gigsoupmusic.com/music-awards/mercury-winners-portishead-dummy-1995/|title=Mercury Winners : Portishead ‘Dummy’ (1995)|last=Oxley|first=Macon|date=2015-11-01|language=en-GB|access-date=2019-12-16}}</ref> giving trip-hop as a genre its greatest exposure yet. Portishead's music, seen as cutting edge in its film-noir feel and stylish, yet emotional appropriations of past sounds, was also widely imitated, causing the band to recoil from the trip-hop label they had inadvertently helped popularize. | + | |
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| - | Tricky also released his debut solo album ''[[Maxinquaye]]'' in 1995, to great critical acclaim. The album was produced largely in collaboration with [[Mark Saunders (record producer)|Mark Saunders]]. Tricky employed whispered, often abstract stream-of-consciousness murmuring, remote from the gangsta-rap [[Braggadocio (rap)|braggadocio]] of the mid-1990s US hip hop scene. Even more unusually, however, many of the solo songs on ''Maxinquaye'' featured little of Tricky's own voice: his then-lover, [[Martina Topley-Bird]], sang them, including her reimagining of [[Public Enemy (group)|Public Enemy]]'s militant 1988 rap "[[Black Steel in the Hour of Chaos]]", while other songs were male-female duets dealing with sex and love in oblique ways, over beds of sometimes dissonant samples. Within a year Tricky had released two more full-length albums which were considered even more challenging, without finding the same popularity as his Bristol contemporaries Massive Attack and Portishead.<ref>{{cite news|title=Tricky comeback makes for trip-hop trilogy|url=https://www.theguardian.com/music/musicblog/2008/may/09/trickycomebackselastriphop|accessdate=19 December 2015|work=Guardian|date=9 May 2008}}</ref> Through his brief collaborations with Björk, however, he also exerted influence closer to the pop and alternative rock mainstream, and he developed a large cult fan-base. | + | |
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| - | Musician [[Poe (singer)|Poe]] released her 1995 debut ''[[Hello (Poe album)|Hello]]'', an album that featured trip-hop elements, to critical praise. | + | |
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| - | Although not as popular in the United States, bands like Portishead and [[Sneaker Pimps]] saw moderate airplay on alternative-rock stations across the country.<ref>{{cite web|url=http://www.rocklists.com/q101-1997.html |title=Top Songs of 1997 |publisher=Q101 Chicago Alternative |date= |accessdate=25 March 2014}}</ref> | + | |
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| - | ==="Post-trip hop"=== | + | |
| - | [[File:Björk @deer lake park 2.jpg|thumb|upright|[[Björk]], an artist who has often incorporated trip hop in her music<ref>{{cite web|last=Thomas |first=Stephen |url=http://www.allmusic.com/artist/bjrk-p27211 |title=Björk - Music Biography, Credits and Discography |website=AllMusic |date=21 November 1965 |accessdate=25 April 2013}}</ref><ref>{{cite web|last=Phares |first=Heather |url=http://www.allmusic.com/album/post-r216082/review |title=Post - Björk : Songs, Reviews, Credits, Awards |website=AllMusic |date=13 June 1995 |accessdate=25 April 2013}}</ref><ref>{{cite web|last=Phares |first=Heather |url=http://www.allmusic.com/album/homogenic-r312930/review |title=Homogenic - Björk : Songs, Reviews, Credits, Awards |website=AllMusic |date=22 September 1997 |accessdate=25 April 2013}}</ref>]] | + | |
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| - | After the initial success of trip hop in the mid-1990s, "post-trip-hop"{{verification needed|date=March 2018}} artists include [[Baby Fox]], [[Bowery Electric]], [[Esthero]], [[Morcheeba]], [[Sneaker Pimps]], [[Anomie Belle]],<ref>{{cite news | first=Marian | last=Liu | url=https://www.seattletimes.com/entertainment/ae-dispatch-anomie-belle-brings-politically-conscious-trip-hop-to-the-tractor-sunday/| title=Anomie Belle brings politically conscious trip hop to the Tractor Sunday | date=28 October 2008 | newspaper=The Seattle Times }}</ref> [[Alpha (band)|Alpha]], Jaianto, [[Mudville (band)|Mudville]] and [[Cibo Matto]] and [[Lamb (electronic band)|Lamb]]. These artists incorporated trip hop into other genres, including [[Ambient music|ambient]], [[Soul music|soul]], [[intelligent dance music|IDM]], [[Industrial music|industrial]], [[dubstep]], [[breakbeat]], [[drum and bass]], [[acid jazz]], and [[New-age music|new-age]]. The first printed use of the term "post-trip hop" was in an October 2002 article of ''[[The Independent]]'', and was used to describe the band [[Second Person (band)|Second Person]].<ref>{{Cite news|title=Second Person|date=23 Oct 2002|work=The Independent|page=12}}</ref> | + | |
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| - | Trip hop has also influenced artists in other genres, including [[Gorillaz]], [[Emancipator (artist)|Emancipator]], [[Nine Inch Nails]], [[Travis (band)|Travis]], [[Queens of the Stone Age]], Allflaws, [[How to Destroy Angels (band)|How to Destroy Angels]],<ref>{{cite web|url=http://www.spinner.com/2010/05/04/trent-reznor-how-to-destroy-angels-a-drowning-first-song/ |title=Trent Reznor's How to Destroy Angels Premiere First Track |publisher=Spinner |date=4 May 2010 |accessdate=26 April 2012}}</ref> [[Beth Orton]], [[The Flaming Lips]], [[Bitter:Sweet]], [[Beck]], and [[Deftones]].<ref>{{cite web|url=http://www.sputnikmusic.com/album.php?albumid=63 |title=Sputnik Music Review |website=[[Sputnikmusic]]|date=27 February 2005|accessdate=27 November 2012}}</ref> Several tracks on Australian pop singer [[Kylie Minogue]]'s 1997 album ''[[Impossible Princess]]'' also displayed a trip hop influence.<ref>{{cite web|url=https://www.sputnikmusic.com/review/31438/Kylie-Minogue-Impossible-Princess/ |title=Kylie Minogue – Impossible Princess (album review) |website=Sputnikmusic |date=17 July 2009 |accessdate=17 November 2011}}</ref>{{importance example}} | + | |
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| - | Various prominent artists and groups, such as [[Janet Jackson]],<ref>Since acknowledging her capabilities for sensuality on the album "Janet," Miss Jackson uses "The Velvet Rope" to explore her sexuality, including obsession, frustration and even coy allusions to sexual preference, layering her lyrics with fashionable trip-hop beats, overt sampling and trademark grooves. {{cite news|author=Elita Bradley|title=Ushering back Janet Jackson `Velvet Rope' singer due for another show; Pearl Jam also on tap|newspaper=[[The Washington Times]]|date=17 September 1998|page=M.2|issn=0732-8494}}</ref> [[Kylie Minogue]],<ref>{{cite magazine|url=http://www.slantmagazine.com/music/review/kylie-minogue-impossible-princess/371 |title=Kylie Minogue: Impossible Princess – Music Review |magazine=Slant Magazine |date=19 November 2003 |accessdate=17 November 2011}}</ref> [[Madonna (entertainer)|Madonna]],<ref>{{cite web |last=Thomas |first=Stephen |url=http://www.allmusic.com/album/ray-of-light-r333319 |title=Ray of Light – Madonna |website=AllMusic |date=3 March 1998 |accessdate=17 November 2011 |url-status=dead |archiveurl=https://web.archive.org/web/20111016124904/http://www.allmusic.com/album/ray-of-light-r333319 |archivedate=16 October 2011 |df=dmy-all }}</ref><ref>{{cite web|author=Rob Sheffield |url=https://www.rollingstone.com/music/albumreviews/ray-of-light-19980402 |title=Ray Of Light Album Reviews |work=Rolling Stone |date=2 April 1998 |accessdate=17 November 2011}}</ref> [[Björk]],<ref>{{cite web|last=Phares |first=Heather |url=http://www.allmusic.com/album/r184600 |title=Debut – Björk |website=AllMusic |accessdate=17 November 2011}}</ref><ref>{{cite web|last=Phares |first=Heather |url=http://www.allmusic.com/album/post-r216082/review |title=Post – Björk |website=AllMusic |date=13 June 1995 |accessdate=17 November 2011}}</ref><ref>{{cite web|last=Phares |first=Heather |url=http://www.allmusic.com/album/homogenic-r312930/review |title=Homogenic – Björk |website=AllMusic |date=22 September 1997 |accessdate=17 November 2011}}</ref> and [[Radiohead]],<ref>{{cite web|url=https://www.sputnikmusic.com/review/1534/Radiohead-OK-Computer/ |title=Radiohead – OK Computer (album review) |website=Sputnikmusic |accessdate=17 November 2011}}</ref> have also been influenced by the genre. Trip hop has spawned several subgenres,<ref>{{Cite journal|last=Deruty|first=Emmanuel|last2=Tardieu|first2=Damien|date=2014-02-03|title=About Dynamic Processing in Mainstream Music|journal=Journal of the Audio Engineering Society|volume=62|issue=1/2|pages=42–55|doi=10.17743/jaes.2014.0001|issn=1549-4950}}</ref> including [[illbient]] ([[dub music|dub]]-based trip hop which combines [[ambient music|ambient]] and [[industrial hip hop]]). | + | |
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| - | ===2000s=== | + | |
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| - | Trip hop continued to influence notable artists in the 2000s. Norwegian [[avant-garde]] band [[Ulver]] incorporated trip hop in their ambient/electronic/jazzy album ''[[Perdition City]]''. Atmospheric rock band [[Antimatter (band)|Antimatter]] included some trip hop elements in their first two albums. Australian composer [[Rob Dougan]] proposed a mix of trip hop beats, orchestral music and electronics. [[RJD2]] began his career as a DJ, but in 2001, began releasing albums under [[El-P]]'s [[Def Jux]] Label.<ref>{{Cite web|title=Biography|url=http://www.triphop-music.com/band/RJD2|archiveurl=https://web.archive.org/web/20160304065033/http://www.triphop-music.com/band/RJD2|website=TripHop-Music.com|archivedate=4 March 2016|accessdate=28 May 2015}}</ref> [[Zero 7]]'s album ''[[Simple Things (Zero 7 album)|Simple Things]]'', and in particular, its lead single "[[Destiny (Zero 7 song)|Destiny]]", was regarded highly by underground listeners and achieved significant popularity.<ref>{{cite web|author=Tim DiGravina |url=http://www.allmusic.com/album/simple-things-mw0000017246 |title=Simple Things – Zero 7 : Songs, Reviews, Credits, Awards |website=AllMusic |date=12 June 2001 |accessdate=25 April 2013}}</ref> In 2006, [[Gotye]] debuted his second studio album, ''[[Like Drawing Blood]]''. The songs on the album featured down-tempo hip-hop beats and dub style bass reminiscent of trip hop.<ref>{{cite web|last=O'Brien |first=Jon |url=http://www.allmusic.com/album/like-drawing-blood-mw0001445777 |title=Like Drawing Blood – Gotye : Songs, Reviews, Credits, Awards |website=AllMusic |accessdate=25 April 2013}}</ref> Hip hop groups [[Zion I]] and the [[Dub Pistols]] also displayed heavy trip hop influence.<ref>{{cite web|last=Azpiri |first=Jon |url=http://www.allmusic.com/artist/zion-i-mn0000601281 |title=Zion I – Music Biography, Credits and Discography |website=AllMusic |accessdate=25 April 2013}}</ref><ref>{{cite web|last=Bush |first=John |url=http://www.allmusic.com/artist/dub-pistols-mn0000207360 |title=Dub Pistols – Music Biography, Credits and Discography |website=AllMusic |accessdate=25 April 2013}}</ref> Norwegian singer and songwriter [[Kate Havnevik]] is a classically trained musician, but also incorporates trip hop into her work.<ref>{{cite web|url=http://www.muumuse.com/2009/11/kate-havnevik-me-ep-album-review-and-us-tour-dates.html/|title=Kate Havnevik: Me EP Album Review and US Tour Dates|work=MuuMuse|date=2009-11-11}}</ref> | + | |
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| - | Many producers who were not explicitly trip-hop artists also displayed its influence during the early 2000s. Daniel Nakamura, aka [[Dan The Automator]], released two albums that were heavily inspired by trip hop. 2000 album ''[[Deltron 3030 (album)|Deltron 3030]]'',<ref>{{cite web|last=Huey |first=Steve |url=http://www.allmusic.com/album/deltron-3030-mw0000000954 |title=Deltron 3030 – Deltron 3030 : Songs, Reviews, Credits, Awards |website=AllMusic |date=23 May 2000 |accessdate=25 April 2013}}</ref> was a concept album about a rapper, portrayed by [[Del Tha Funkee Homosapien]], from the future. 2001 saw the release of his side project, [[Lovage (band)|Lovage]]. ''[[Music to Make Love to Your Old Lady By]]'',<ref>{{cite web|author=M.F. DiBella |url=http://www.allmusic.com/album/lovage-music-to-make-love-to-your-old-lady-by-mw0000016548 |title=Lovage: Music to Make Love to Your Old Lady By – Lovage, Nathaniel Merriweather : Songs, Reviews, Credits, Awards |website=AllMusic |date=6 November 2001 |accessdate=25 April 2013}}</ref> with special guests [[Mike Patton]], [[Prince Paul (producer)|Prince Paul]], [[Maseo]], [[Damon Albarn]], and [[Afrika Bambaataa]]. British producer [[Fatboy Slim]]'s breakthrough album, ''[[Halfway Between the Gutter and the Stars]]'',<ref>{{cite web|last=Bush |first=John |url=http://www.allmusic.com/album/halfway-between-the-gutter-and-the-stars-mw0000620216 |title=Halfway Between the Gutter and the Stars – Fatboy Slim : Songs, Reviews, Credits, Awards |website=AllMusic |date=7 November 2000 |accessdate=25 April 2013}}</ref> was his most commercially successful release.{{importance example}} | + | |
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| - | ===2010s=== | + | |
| - | Major notable releases include Massive Attack's ''[[Heligoland (album)|Heligoland]],'' their first studio album in seven years, and Dutch's ''[[A Bright Cold Day]]'' in 2010, which was met with positive reviews including a 7/10 score from inyourspeakers.com. The latter group consists of members including [[Jedi Mind Tricks]] producer [[Stoupe the Enemy of Mankind]].<ref>{{cite web|last=Bush |first=John |url=http://www.allmusic.com/album/heligoland-mw0001955856 |title=Heligoland – Massive Attack : Songs, Reviews, Credits, Awards |website=AllMusic |date=9 February 2010 |accessdate=25 April 2013}}</ref><ref name="Allmusic">{{cite web|url=http://www.allmusic.com/album/a-bright-cold-day-r1796379|title=AllMusic Review|accessdate=7 November 2012}}</ref> | + | |
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| - | [[DJ Shadow]]'s ''[[The Less You Know, the Better]]'' was released in 2011 after a highly publicised unveiling of songs, including appearances on [[Zane Lowe]]'s [[BBC Radio 1]] show and previews at a performance in Antwerp in August 2010.<ref>{{cite web|last=Cooper |first=Sean |url=http://www.allmusic.com/artist/dj-shadow-mn0000949820 |title=DJ Shadow – Music Biography, Credits and Discography |website=AllMusic |accessdate=25 April 2013}}</ref> The album was met with "generally favorable reviews" on Metacritic, with some criticising Shadow's lack of originality. Sam Richards of ''[[NME]]'' felt that the album sounded "like the work of a man struggling to recall his motivations for making music in the first place." | + | |
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| - | [[Geoff Barrow]]'s album titled "[[Beak 2|>>]]" was released in 2012 and received high scores from journalists, including an 8/10 from NME and Spin magazine.<ref>{{cite web|last=Phares |first=Heather |url=http://www.allmusic.com/album/-gt-gt--mw0002370470 |title=>> - Beak> : Songs, Reviews, Credits, Awards |website=AllMusic |date=10 July 2012 |accessdate=25 April 2013}}</ref> | + | |
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| - | [[Lana Del Rey]] released her second album, ''[[Born to Die]]'' in 2012, which contained a string of trip hop ballads.<ref>{{cite web|last=Sheffield|first=Rob|title=Born To Die – Album Reviews – Rolling Stone|url=https://www.rollingstone.com/music/albumreviews/born-to-die-20120130|work=[[Rolling Stone]]|publisher=[[Wenner Media]]|accessdate=11 September 2013|date=30 January 2012}}</ref> The album topped the charts in eleven countries, including Australia, France, Germany, and the United Kingdom; it has sold 3.4 million copies worldwide as of 2013 according to [[International Federation of the Phonographic Industry]].<ref>{{cite web|url=http://www.ifpi.org/content/library/DMR2013.pdf |title=IFPI Digital Music Report 2013 |website=IFPI.org |accessdate=26 November 2013}}</ref> | + | |
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"One influence on trip hop came from a combination of the Tackhead sound system, On-U Sound Records, Mark Stewart and Adrian Sherwood who combined hip hop with experimental rock and dub music." --Sholem Stein |
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Trip hop (sometimes used synonymously with "downtempo") is a musical genre that originated in the early 1990s in the United Kingdom, especially Bristol. It has been described as "a fusion of hip hop and electronica until neither genre is recognizable", and may incorporate a variety of styles, including funk, dub, soul, psychedelia, R&B, and house, as well as other forms of electronic music. Trip hop can be highly experimental.
Deriving from later idioms of acid house, the term was first used by the British music media to describe the more experimental variant of breakbeat emerging from the Bristol Sound scene in the early 1990s, which contained influences of soul, funk, and jazz. It was pioneered by acts like Massive Attack, Tricky, and Portishead. Trip hop achieved commercial success in the 1990s, and has been described as "Europe's alternative choice in the second half of the '90s."
Common musical aesthetics include a bass-heavy drumbeat, often providing the slowed down breakbeat samples similar to standard 1990s hip hop beats, giving the genre a more psychedelic and mainstream feel.
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Unless indicated otherwise, the text in this article is either based on Wikipedia article "Trip hop" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
