The Best of Trip Hop

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Like it or not, trip-hop is a thing. One strand came from hip-hop, which had fed the musical imagination of a new generation for over a decade, while another strand came from rave, which had provided further stylistic possibilities with its fusion of drum machines, breaks, samples and synthesisers. Sound systems, digging, dub, chill-out rooms, early globalisation and technology also acted like so many molecules attaching themselves to a new idea of what hip-hop could be. Trip-hop was a logical evolution in a decade during which everyone came down from a partying high to face the reality that hip-hop and dance music were being co-opted by the mainstream; dreams of a new sonic utopia crushed by the relentless onslaught of capitalism. Just as techno had become a synonym for dance music, trip-hop soon became a crutch for journalists and marketers wanting to signify hip-hop without rappers. Most notably, it became a byword for the Bristol sound epitomised by bands like Massive Attack and Portishead. On the ground, the sound did resonate in a genuine way among a new generation of musicians seeking freedom to experiment. Both labels crafted a unique visual dimension and assembled expansive rosters. In Paris, DJ Cam pushed out his own blunted beats to eager continental heads. No matter the names or the execution, the DNA was the same. It was always going to end badly. By the late s, trip-hop had become nothing more than limp, often stoner-friendly, coffee table hip-hop beats. It was music for people who felt rap was too dangerous. To those who believed in it though, it always held a promise of things weird and wonderful. Alongside IDM another etymological faux pas from the s , trip-hop presaged the beat scene of the late s, a continuation of the ideas and aesthetic it first articulated. Flying Lotus has cited DJ Krush as an influence. In putting together this list, we tried to take all of this into account. There is no purism to indulge in, because there is nothing pure about trip-hop. The album proved a critical and commercial flop, though it remains an interesting offering, drawing links between trip-hop, dub, industrial and ambient with a touch of psychedelia. Zero 7 was just around the corner. It might be a stretch to classify Tipsy as trip-hop, but the Californian duo of Tim Digulla and David Gardner certainly used many of the same tools as their European peers. Pillaging loops from a wide variety of lounge and exotica records, Digulla and Gardner came up with a dusty, defiant and undoubtedly downbeat look at sound collage. Since it veered away from obvious breaks and beats, Trip Tease actually holds up markedly better than some other records of the era, and ends up sounding closer in style to David Holmes, with a smoky, cinematic quality. The West Country duo took soundsystem culture and a hefty scoop of the ideas informing an increasingly popular jungle scene and helped formulate an entire sound. Bass Is Maternal is the best representation of their scope, and illustrates their experimentation as they attempted to summarize the meeting point between UK rave culture and Jamaican dub. Musically, Braddell laid out a template that would be traced over for years to come with his combination of dusty hip-hop rhythms and booming dub bass. The swirling, reverb-drenched samples just added an extra layer of thick smoke to an already bloodshot premise. If the elephant in the room here is acid jazz, Red Snapper are one of the rare acts who addressed it head-on. They even, somewhat inexplicably, ended up touring with The Prodigy. Various Artists DJ Kicks: Their contribution to! His second release as Wagon Christ pieces together elements from hip-hop, the burgeoning UK dance music scene and electro into a colourful sonic puzzle that glides along in splendid fashion. If you need a quick-to-digest taster of the genre, this is as good as it gets. We can already hear the furious typing of wronged hip-hop heads asking with disgust why Prince Paul is even on this list. Psychoanalysis is here for a bunch of reasons: There are a few other reasons too: The record appeared on the Ninja Tune sister label Ntone, and is one of the few full-lengths on this list that still sounds truly bizarre and alien. The first Headz compilation is a neat track digest of that transition, a declaration of what was to come. Influences, ambitions and comments on the status quo of the time are found in the slowed down grooves and samples as well as the track titles: The titular beatheads may have seemed like a stoned, uncreative bunch at the time but their aesthetic has proven resilient. Despite emerging entirely outside of the s trip-hop world, Eleven Phases shows how the core ideas and principles of the aesthetic bled into various scenes and cities throughout the decade. It makes sense that one of the best and weirdest records in a genre that deifies crate diggers should come from a record store owner. Not only this, but Solex vs. Hitmeister emerged on the Matador label, then best known for releasing indie records. Esselink was a breath of fresh air, and Solex vs. As its name implies, DJ Food was set up to provide DJs with the necessary ingredients to do their thing. Using the same approach that had made their Solid Steel mixes and live appearances unmissable, they pieced together 16 tracks that veer from downtempo moody to breakbeat furious and proved that they knew their way around the trip-hop kitchen just as well as the best of them. The collision of avant-garde jazz and trip-hop was bound to happen. Ki Oku is one of the best examples of this collision, despite trumpeter Toshinori Kondo turning in a surprisingly straightforward performance throughout. What could, in the wrong hands, have been one of the worst abuses of both jazz and trip-hop tropes, is actually remarkably measured and incredibly listenable. His second album Bricolage emerged from the dust of trip-hop, appearing on Ninja Tune and offering a view of the scene through cracked glass. The result is an accomplished midpoint between the edit-heavy trickery of Squarepusher and Aphex Twin and the moody soundscapes of Krush, Vibert and Shadow. Matt Elliott may have been a total outlier to most of the scenes that piled up to intersect at trip-hop, but Semtex is an example of how certain musicians could absorb familiar tropes without sacrificing originality. Like many of the artists and albums featured in this list, Attica Blues is trip-hop thanks to the location and affiliations of its creators at the time. The best trip-hop owed plenty both to the art of mixing and the cut-and-paste aesthetic of the s, which is why a handful of releases on this list are mix CDs rather than albums. Cold Krush Cuts is a perfect example of how those two ideas influenced the music at its peak, and has the bonus of acting as a handshake between the two London labels most associated with the tag. A natural progression from the movie-obsessed NY rap of Wu-Tang Clan et al, 9 Deadly Venoms used a backbone of cult film samples to underpin gritty hip-hop instrumentals that helped inform a fast-growing scene. In many ways Skylab were not so different to Portishead in both their intentions and execution. Their second album was released just as the label folded, leading it disappear into the cracks of time until a reissue by Tummy Touch earlier this year. Emerging from post-rock band Moonshake, Laika orbited the trip-hop genre without succumbing to many of its less flattering trappings. A cursory listen might not even reveal too many obvious similarities — like Portishead, Laika were taking elements of post-rock, krautrock and certainly hip-hop to provide something reactionary, and different from the pervasive, laddish Britpop that was polluting the charts at the time. While their contemporaries Stereolab and later, Broadcast were experimenting with drum machines and synthesizers, Laika were integrating samples and a deep passion for jazz and dub. Silver Apples of the Moon is one of the most singular albums on this list, and one of the most rewarding. Brighton-based producer and sometime graf writer REQ offered up one of the most blunted takes on the genre, almost by accident. He made hip-hop instrumentals that sounded like they were being beamed in from a parallel universe via Israel and Bill Laswell. On Meiso he dug for samples and looped them with the same precision, sensitivity and attention to detail as the finest calligrapher or ukiyo-e artist. Say what you like about Spooky and his over-explanation those liner notes and academic slant, Songs of a Dead Dreamer might sound better now than it did back in While others may have pilfered from dub at a surface level, Spooky was using the Jamaican techniques mixing board trickery, tape delay etc to produce alien soundscapes that were a million miles from the comparatively safe sounds of Up, Bustle and Out or Funki Porcini. Abstract Manifesto is one of his lesser-known releases, a Japan-only album that tapped into the same minimal approach as Krush with added jazz flourishes and junglistic detours. Later on in his interview, Nakanishi points out that London, at the time, felt as psychedelic as the s, with the group seeking to inject some of this spirit into hip-hop, which in England was called trip-hop. While the first volume feels a little dated, Headz 2 has aged remarkably well, in part thanks to its broad representation of what trip-hop could be and where it came from. Arab had pieced together a hazy, underwater daydream of a record with half-heard soul, pop and chiming ice cream truck electronics swirling together in a soup of memory and emotion. Like Weather might be the one record on this list that has the most in common with Maxinquaye , and that should tell you something about its quality. Maybe that helped, as his productions have stood the test of time, sitting somewhere in between the sample-rich collages of DJ Shadow and the tight, precise constructions of DJ Krush and Major Force. In a feature for The New York Times , Guy Garcia posited Blue Lines as the blueprint for trip-hop, an argument that holds some weight if you consider that parts of the album were as old as the days of The Wild Bunch, from which the trio emerged. Blue Lines made its mark thanks to a mix of ideas: Blue Lines was all of these things and more. Whether or not you consider it trip-hop is at this point in time purely a matter of personal beliefs and largely irrelevant considering its legacy. In , Daddy G told The Observer: Endtroducing is the lingua franca of trip-hop, an album crafted by a hip-hop fanatic outside of any direct sphere of influence but his own. Like all of the releases on this list, to define Endtroducing as trip-hop is to limit it, to take away the transformative powers it had to imbue listeners with a new understanding of the potentials of hip-hop as an instrumental music. As a result the music felt both impossible and irresistible. Two decades on, Dummy still sounds as hypnotic and engrossing as it did then, a gritty take on hip-hop, s movie soundtracks and traditional songwriting that laid bare the potentials afforded by sidestepping rigid genre formats. This is the one, really. Tricky named his debut solo album after his mother, Maxine Quaye, and that should already indicate just how personal the record is. Want to advertise here? Mo Wax Ninja Tune trip-hop. Red Snapper Prince Blimey Warp, If the elephant in the room here is acid jazz, Red Snapper are one of the rare acts who addressed it head-on. Wordsound, We can already hear the furious typing of wronged hip-hop heads asking with disgust why Prince Paul is even on this list. Hitmeister Matador, It makes sense that one of the best and weirdest records in a genre that deifies crate diggers should come from a record store owner. DJ Krush Cold Krush Cuts Ninja Tune, The best trip-hop owed plenty both to the art of mixing and the cut-and-paste aesthetic of the s, which is why a handful of releases on this list are mix CDs rather than albums. Depth Charge 9 Deadly Venoms Vinyl Solution, A natural progression from the movie-obsessed NY rap of Wu-Tang Clan et al, 9 Deadly Venoms used a backbone of cult film samples to underpin gritty hip-hop instrumentals that helped inform a fast-growing scene. Laika Silver Apples of the Moon Too Pure, Emerging from post-rock band Moonshake, Laika orbited the trip-hop genre without succumbing to many of its less flattering trappings. DJ Spooky Songs of a Dead Dreamer Asphodel, Say what you like about Spooky and his over-explanation those liner notes and academic slant, Songs of a Dead Dreamer might sound better now than it did back in Massive Attack Blue Lines Island, In a feature for The New York Times , Guy Garcia posited Blue Lines as the blueprint for trip-hop, an argument that holds some weight if you consider that parts of the album were as old as the days of The Wild Bunch, from which the trio emerged. Tricky Maxinquaye Island, This is the one, really. Dec 2 Nabihah Iqbal creates a dream-pop fantasia with Weighing of the Nov 2 Bicep release Glue EP and honor old rave sites in new video. Advertisement Want to advertise here? We use cookies to ensure that we give you the best experience on our website.

The Best of Trip Hop

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