View source for Trip hop

{{Short description|Genre of electronic music}}
{{Distinguish|Psychedelic hip hop|Illbient|Chillhop}}
{{Use dmy dates|date=December 2015}}
{{Infobox music genre
| name              = Trip hop
| other_names       = 
| stylistic_origins = {{hlist|[[Electronica]]|[[Hip hop music|hip hop]]|[[downtempo]]|[[ambient music|ambient]]|[[reggae]]|[[Psychedelic music|psychedelia]]|[[Soul music|soul]]|[[dub music|dub]]|[[breakbeat]]|[[Rock music|rock]]|[[post-punk]]|[[funk]]|[[Contemporary R&B|R&B]]|[[jazz]]|[[ska]]|[[alternative rock]]<ref>{{cite book|url=https://archive.org/details/globalnoiseraphi00mitc|url-access=registration|title=Global Noise: Rap and Hip Hop Outside the USA|last=Mitchell|first=Tony|publisher=[[Wesleyan University Press]]|year=2002|access-date=27 November 2012|isbn=978-0-8195-6502-0|page=[https://archive.org/details/globalnoiseraphi00mitc/page/105 105]}}</ref><ref>{{cite book|title=Music, Space And Place: Popular Music And Cultural Identity|url=https://books.google.com/books?id=INrD8e0ic3oC&q=%22trip+hop%22+%22alternative+rock%22&pg=PA84|year=2004|access-date=27 November 2012|publisher=[[Ashgate Publishing]], Ltd.|last1=Whiteley|first1=Sheila|last2=Bennett|first2=Andy|last3=Hawkins|first3=Stan|page=84|isbn=978-0-7546-5574-9}}</ref>|[[Lounge music|lounge]]}} 
| cultural_origins  = {{circa|late 1980s – early 1990s}}, [[Bristol]], England
| derivatives       = {{hlist|[[Illbient]]|[[Intelligent dance music|IDM]]}}
| fusiongenres      = 
| subgenrelist      = 
| subgenres         = 
| regional_scenes   = {{hlist|United Kingdom|Australia}}
| other_topics      = {{hlist|[[Bristol underground scene|Bristol sound]]|[[Experimental hip hop]]|[[Psychedelic rap]]|[[neo soul]]|[[acid jazz]]|[[nu jazz]]|[[chill-out music]]}}
}}

'''Trip hop''' is a [[music genre]] defined as a [[psychedelic music|psychedelic]] fusion of [[hip hop music|hip hop]] and [[electronica]] with slow tempos and an atmospheric sound.<ref>{{cite web|last1=Twells|first1=John|author1-link=Xela (musician)|last2=Fintoni|first2=Laurent|url=https://www.factmag.com/2015/07/30/50-best-trip-hop-albums/|title=The 50 best trip-hop albums of all time|website=[[Fact (UK magazine)|Fact]]|date=30 July 2015|access-date=22 December 2016}}</ref><ref name="masterclass">{{cite web |last1=Staff |title=Downtempo Music Guide: 5 Popular Downtempo Musical Acts |url=https://www.masterclass.com/articles/downtempo-music-guide#what-is-downtempo |website=[[MasterClass]] |access-date=4 July 2021}}</ref><ref>{{cite web|url=https://www.slantmagazine.com/music/dj-shadow-endtroducing/|title=Slant Magazine Music Review: DJ Shadow: Endtroducing...|last=Cinquemani|first=Sal|date=2 November 2002|website=Slantmagazine|publisher=Slantmagazine.com|access-date=24 September 2010}}</ref> The style emerged as a more [[experimental music|experimental]] variant of [[breakbeat]] from the [[Bristol underground scene|Bristol sound]] scene of the late 1980s and early 1990s,<ref name="allmusic1">{{cite web |author=Trip-Hop Electronic » Electronica » Trip-Hop |url=http://www.allmusic.com/explore/style/trip-hop-d2644 |title=Explore: Trip-Hop |website=[[AllMusic]] |access-date=17 November 2011 |archive-date=13 September 2012 |archive-url=https://web.archive.org/web/20120913120741/http://www.allmusic.com/style/trip-hop-ma0000002906 |url-status=dead }}</ref> incorporating influences from [[jazz]], [[soul music|soul]], [[funk]], [[dub music|dub]], [[Hip hop music|rap]], as well as [[sampling (music)|sampling]] from [[movie soundtrack]]s and other eclectic sources.<ref>{{Cite web|title=Trip-hop {{!}} music|url=https://www.britannica.com/art/trip-hop|access-date=2020-11-24|website=Encyclopedia Britannica|language=en}}</ref><ref>{{cite web|url=http://www.salon.com/2008/04/17/portishead/|title=Did Portishead kill trip hop?|author=James Hannaham|work=salon.com|date=2008-04-17}}</ref>

Pioneering trip hop acts include [[Massive Attack]], [[Unkle|UNKLE]], [[Tricky (musician)|Tricky]], and [[Portishead (band)|Portishead]].<ref>{{Cite web|url=https://epigram.org.uk/2019/04/20/feature-when-bristol-music-went-out-of-the-comfort-zone/|title=Feature / When Bristol music went 'Out of the Comfort Zone'|date=20 April 2019|website=Epigram.org.uk|access-date=7 January 2021}}</ref> The term was first coined in a 1994 ''[[Mixmag]]'' piece about American producer [[DJ Shadow]].<ref name="theguardian_com">{{cite web|url=https://www.theguardian.com/music/2011/aug/25/origins-of-music-genres-hip-hop|title=Genre busting: the origin of music categories|author=Michaelangelo Matos|date=25 Aug 2011|work=theguardian.com}}</ref> Trip hop achieved commercial success in the 1990s, and has been described as "Europe's alternative choice in the second half of the '90s".<ref name="allmusic1" />

==Characteristics==
Common musical aesthetics include a bass-heavy drumbeat,<ref name=":0">{{Cite journal|last=Andersen|first=Ragnhild Brøvig|date=September 2005|title=Groove in trip-hop music|url=https://www.hf.uio.no/imv/english/research/projects/rhythm/dok/rbandersen.pdf|journal=UIO}}</ref> often providing the slowed down breakbeat samples similar to standard 1990s hip hop beats, giving the genre a more psychedelic and mainstream feel.<ref name=":0" /> Vocals in trip hop are often female and feature characteristics of various singing styles including [[Contemporary R&B|R&B]], [[jazz]] and [[Rock music|rock]]. The female-dominant vocals of trip hop may be partially attributable to the influence of genres such as jazz and early R&B, in which female vocalists were more common. However, there are notable exceptions: [[Massive Attack]]<ref>{{Cite web|url=https://www.allmusic.com/artist/massive-attack-mn0000378288/credits|title=Massive Attack {{!}} Credits|website=AllMusic|language=en-us|access-date=2019-12-16}}</ref> and [[Groove Armada]] collaborated with male and female vocalists, Tricky often features vocally in his own productions along with [[Martina Topley-Bird]],<ref>{{Cite web|url=https://www.allmusic.com/artist/martina-topley-bird-mn0000857464/credits|title=Martina Topley-Bird {{!}} Credits|website=AllMusic|language=en-us|access-date=2019-12-16}}</ref> and [[Chris Corner]] provided vocals for later albums with [[Sneaker Pimps]].<ref>{{Cite web|url=https://www.allmusic.com/artist/sneaker-pimps-mn0000028432/credits|title=Sneaker Pimps {{!}} Credits|website=AllMusic|language=en-us|access-date=2019-12-16}}</ref>

Trip hop is also known for its melancholic sound. This may be partly due to the fact that several acts were inspired by [[post-punk]] bands;<ref>{{Cite web|url=https://www.dummymag.com/10-best/the-10-best-trip-hop-tracks-according-to-nouvelle-vague-marc-collin/|title=The 10 best trip hop tracks, according to Nouvelle Vague's Marc Collin|website=Dummymag.com|language=en-US|access-date=2019-12-16}}</ref> Tricky and Massive Attack both [[cover version|covered]] and sampled songs of [[Siouxsie and the Banshees]]<ref>[http://www.moon-palace.de/tricky/cover.html "moon-palace.de"] Tricky web Site. Tricky covered "Tattoo" (a pre-trip-hop song of Siouxsie and the Banshees from 1983) for the opening track of his second album ''Nearly God'' in 1996</ref><ref>[http://www.inflightdata.com/superpredators.html "Inflightdata.com"] {{Webarchive|url=https://web.archive.org/web/20110713030438/http://www.inflightdata.com/superpredators.html |date=13 July 2011 }} Massive Attack sampled and covered "Metal Postcard" of Siouxsie and the Banshees in 1997 on the movie soundtrack ''The Jackal''</ref> and [[the Cure]].<ref>[http://www.moon-palace.de/tricky/cover.html Tricky site] "The Lovecats" by Cure, covered by Tricky</ref><ref>{{cite web|url=http://www.inflightdata.com/mannextdoor.html|title=inflightdata.com – massive attack discography – tune info + lyrics – man next door|website=Inflightdata.com|url-status=dead|archive-url=https://web.archive.org/web/20080502212351/http://inflightdata.com/mannextdoor.html|archive-date=2 May 2008|df=dmy-all}}</ref> Tricky opened his second album ''Nearly God'' with a version of "[[Tattoo (Siouxsie and the Banshees song)|Tattoo]]", a proto-trip-hop song of Siouxsie and the Banshees initially recorded in 1983.<ref>{{cite web |url=http://www.rocknfolk.com/site/ancien-numero.php?produit=2090 |title=Siouxsie Sioux |website=RocknFolk.com |access-date=16 November 2011 |archive-date=10 October 2011 |archive-url=https://web.archive.org/web/20111010073356/http://www.rocknfolk.com/site/ancien-numero.php?produit=2090 |url-status=dead }}</ref>

Trip hop tracks often incorporate [[Rhodes piano]]s, saxophones, trumpets, [[flute]]s, and may employ unconventional instruments such as the [[theremin]] and [[Mellotron]]. Trip hop differs from hip hop in theme and overall tone. Contrasting with [[gangsta rap]] and its hard-hitting lyrics, trip hop offers a more aural atmospherics influenced by experimental folk and rock acts of the seventies, such as [[John Martyn]],<ref>{{Cite web|last=Dombal|first=Ryan|title=Folk-Jazz Icon John Martyn, R.I.P.|url=https://pitchfork.com/news/34373-folk-jazz-icon-john-martyn-rip/|access-date=2020-07-17|website=Pitchfork|date=29 January 2009 |language=en-us}}</ref> combined with [[Hip hop production#Instrumental hip hop|instrumental hip hop]], turntable scratching, and breakbeat rhythms. Regarded in some ways as a 1990s update of fusion, trip hop may be said to "transcend" the [[hardcore rap]] styles and lyrics with atmospheric overtones to create a more mellow tempo.<ref>{{cite web|last1=Andersen|first1=Ragnhild Brøvig|title=Groove in trip-hop music|url=http://www.hf.uio.no/imv/english/research/projects/rhythm/dok/rbandersen.pdf|publisher=University of Oslo|access-date=19 December 2015}}</ref>

==History==
===Late 1980s–1991: Origins===
The term "trip-hop" first appeared in print in June 1994.<ref name="theguardian_com" /> Andy Pemberton, a music journalist writing for ''[[Mixmag]]'', used it to describe "[[In/Flux]]", a single by American producer [[DJ Shadow]] and UK act RPM, with the latter signed to [[Mo' Wax|Mo' Wax Records]].<ref>Pemberton, Andy (June 1994). "Trip Hop". Mixmag.</ref><ref>{{cite book|url=https://books.google.com/books?id=bHgqBgAAQBAJ&pg=PA294|page=294|title=The Dance Music Manual|author=Rick Snoman|publisher=CRC Press|date= 10 Sep 2012|isbn=9781136115585}}</ref>

In Bristol, hip hop began to seep into the consciousness of a subculture already well-schooled in Jamaican forms of music. DJs, [[MC]]s, [[b-boy]]s and [[graffiti artist]]s grouped together into informal [[Sound system (DJ)|soundsystems]].<ref name=":1">{{Cite web|url=https://www.britishcouncil.org.il/en/rewind-bristol|title=The story of the 'Bristol Sound' {{!}} British Council|website=Britishcouncil.org.il|language=en|access-date=2019-12-16}}</ref> Like the pioneering [[The Bronx|Bronx]] crews of [[DJ Kool Herc|DJs Kool Herc]], [[Afrika Bambaataa]] and [[Grandmaster Flash]], the soundsystems provided party music for public spaces, often in the economically deprived [[council estate]]s from which some of their members originated. Bristol's soundsystem DJs, drawing heavily on [[Jamaica]]n dub music, typically used a laid-back, slow and heavy drum [[beat (music)|beat]] ("down tempo").

Bristol's [[The Wild Bunch (sound system)|Wild Bunch]] crew became one of the soundsystems to put a local spin on the international phenomenon, helping to birth Bristol's signature sound of trip hop, often termed "the Bristol Sound".<ref name=":1" /> The Wild Bunch and its associates included at various times in its existence, DJ Milo (Milo Johnson, aka DJ Nature) founding member of the Wild Bunch and the person generally accepted as the creator of the Bristol sound and therefore, trip-hop; [[Tricky (musician)|MC Adrian "Tricky Kid" Thaws]], the graffiti artist and lyricist [[Robert Del Naja|Robert "3D" Del Naja]], producer [[Jonny Dollar]] and the DJs [[Nellee Hooper]], [[Andrew Vowles|Andrew "Mushroom" Vowles]] and [[Daddy G|Grant "Daddy G" Marshall]]. As the hip hop scene matured in Bristol and musical trends evolved further toward [[acid jazz]] and [[House music|house]] in the late 1980s,<ref>{{Cite book|url=https://books.google.com/books?id=NciKgE5rn3gC|title=Portishead's Dummy|last=Wheaton|first=RJ|publisher=Continuum|year=2001|isbn=1441194495|pages=14}}</ref> the golden era of the soundsystem began to end. The Wild Bunch signed a record deal and evolved into [[Massive Attack]],<ref name=":2">{{Cite web|url=http://www.red-lines.co.uk/thewildbunch.html|title=Red Lines: Bristol, England|website=Red-lines.co.uk|access-date=2019-12-16}}</ref> a core collective of 3D, Mushroom and Daddy G, with significant contributions from Tricky Kid (soon shortened to [[Tricky (musician)|Tricky]]), Dollar, and Hooper on production duties, along with a rotating cast of other vocalists.<ref name=":2" />

Another influence came from [[Gary Clail]]'s [[Tackhead]] soundsystem. Clail often worked with former [[The Pop Group]] singer [[Mark Stewart (English musician)|Mark Stewart]].<ref>{{Cite web|url=http://www.skysaw.org/onu/artists/markstewartmaffia.html|title=On-U Sound In The Area - Mark Stewart / Maffia biography|website=Skysaw.org|access-date=2019-12-16}}</ref> 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]].<ref name="sugarhill1">{{Cite book|url=https://books.google.com/books?id=-eDfuEXUHp8C&q=Sherwood+met+Leblanc&pg=PA12 |title= SPIN September 1987 |access-date= 14 September 2011|date= September 1987 }}</ref> Produced by [[Adrian Sherwood]], the music combined hip hop with experimental rock and dub and sounded like a primitive version of what later became trip hop. In 1993, [[Kirsty MacColl]] released "[[Angel (Kirsty MacColl song)|Angel]]", one of the first examples of the genre crossing over to pop, a hybrid that dominated the charts toward the end of the 1990s.

===1991–1997: Mainstream breakthrough===
{{Listen
| 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 |access-date=25 April 2013}}</ref>]]
Massive Attack's first album ''[[Blue Lines]]'' was released in 1991 to huge success in the United Kingdom.<ref>{{Cite web|url=https://www.bl.uk/events/massive-attack-out-of-the-comfort-zone|title=Massive Attack: Out of the Comfort Zone|website=The British Library|access-date=7 January 2021|archive-date=22 April 2023|archive-url=https://web.archive.org/web/20230422153130/https://www.bl.uk/events/massive-attack-out-of-the-comfort-zone|url-status=dead}}</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 other tracks were not seen as hip hop songs in a conventional sense despite similarities in production methods such as using sample-based rhythms. Co-produced by Jonny Dollar, the orchestral "Unfinished" featured R&B singer [[Shara Nelson]], and Jamaican dance hall star [[Horace Andy]] provided vocals on several other tracks, as he would throughout Massive Attack's career.<ref>{{Cite web|url=https://humag.co/features/massive-attack|title=Features|first=Cloud Data|last=Service (clouddataservice.co.uk)|website=Honest Ulsterman|access-date=7 January 2021}}</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.

In the June 1994 issue of the 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.

[[File:Tricky mp3h1944.jpg|thumb|upright|[[Tricky (musician)|Tricky]], a major trip hop artist]]

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=July 5, 2013|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]]|access-date=23 September 2014|date=3 July 2013}}</ref><ref>{{cite web|url=http://www.idolator.com/7470313/bjork-debut-anniversary-20-backtracking|archive-url=https://archive.today/20140615101308/http://www.idolator.com/7470313/bjork-debut-anniversary-20-backtracking|url-status=dead|archive-date=15 June 2014|title=Bjork's 'Debut' Turns 20: Backtracking|website=[[Idolator.com]]|access-date=23 September 2014|date=12 July 2013}}</ref> She had been in contact with London's underground electronic music scene and was romantically involved with trip-hop musician Tricky. Björk further embraced trip-hop 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|website=[[Beats per Minute (website)|Beats per Minute]]|access-date=8 December 2014}}</ref>

Trip-hop neared the peak of its popularity in 1994 and 1995, with artists such as [[Howie B]] and [[Earthling (band)|Earthling]] making significant contributions. [[Ninja Tune]], the [[independent record label]] founded by the duo [[Coldcut]], significantly influenced 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.

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=August 24, 2019|work=[[The Observer]]|access-date=December 16, 2019|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|archive-date=24 November 2020|archive-url=https://web.archive.org/web/20201124062226/https://gigsoupmusic.com/music-awards/mercury-winners-portishead-dummy-1995/|url-status=dead}}</ref> giving trip-hop as a genre its greatest exposure yet. Portishead's music was also widely imitated, to the point that they distanced themselves<ref>{{Cite web|last=Reynolds|first=Simon|date=28 May 1995|title=POP VIEW; Another City, Another New Sound|url=https://www.nytimes.com/1995/05/28/arts/pop-view-another-city-another-new-sound.html|access-date=15 February 2022|website=[[The New York Times]]}}</ref> from the trip-hop label they had inadvertently helped popularize, with Barrow stating "The whole trip-hop tag was nonsense. It was developed by people in London, and the people in Bristol just had to put up with it.".<ref>{{Cite web|last=Simpson|first=Dave|date=11 February 2008|title=Portishead|url=https://www.theguardian.com/music/2008/apr/11/popandrock.portishead1|access-date=15 February 2022|website=[[The Guardian]]}}</ref>

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 lyrics, remote from the gangsta-rap [[Braggadocio (rap)|braggadocio]] of the mid-1990s US hip-hop scene. Even more unusually, many of the solo songs on ''Maxinquaye'' featured little of Tricky's own voice: his then-lover, [[Martina Topley-Bird]], sang them, including her re-imagining of rap group [[Public Enemy (group)|Public Enemy]]'s 1988 song "[[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, although they failed to find 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|access-date=19 December 2015|work=[[The Guardian]]|date=9 May 2008}}</ref> Through his collaborations with Björk, however, he exerted influence closer to the pop and [[alternative rock]] mainstream, and he developed a large cult fan-base.

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 |website=Q101 Chicago Alternative |access-date=25 March 2014}}</ref>

===1997–2010: Continued success and new directions===
[[File:Björk @deer lake park 2.jpg|thumb|left|upright=1.0|[[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 |access-date=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 |access-date=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 |access-date=25 April 2013}}</ref>]]

After the initial success of trip hop in the mid-1990s, the artists who made their own interpretations of the genre include [[Archive (band)|Archive]], [[Baby Fox]], [[Bowery Electric]], [[Esthero]], [[Morcheeba]], [[Everything but the Girl]], [[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>

Trip hop has also influenced artists in other genres, including [[Gorillaz]], [[Emancipator (artist)|Emancipator]], [[Nine Inch Nails]], [[Travis (band)|Travis]], [[PJ Harvey]],<ref name="latimes">{{cite news |url=https://www.latimes.com/archives/la-xpm-1998-sep-27-ca-26893-story.html |first=Mike |last=Boehm |title=Four-Star Performers |newspaper=[[Los Angeles Times]] |quote=Polly Jean Harvey simultaneously falls back on the elemental blues grounding that sets her apart from most of her generation while zooming ahead into trip-hop and techno |date=September 27, 1998}}</ref> [[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 |website=Spinner |date=4 May 2010 |access-date=26 April 2012 |archive-date=5 March 2021 |archive-url=https://web.archive.org/web/20210305110128/http://www.spinner.com/2010/05/04/trent-reznor-how-to-destroy-angels-a-drowning-first-song/ |url-status=dead }}</ref> [[Beth Orton]], [[The Flaming Lips]], [[Bitter:Sweet]], [[Beck]], [[Alanis Morissette]], [[The xx]] and [[Deftones]].<ref>{{cite web|url=http://www.sputnikmusic.com/album.php?albumid=63 |title=Sputnik Music Review |website=Sputnikmusic|date=27 February 2005|access-date=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 |access-date=17 November 2011}}</ref>{{importance example|date=October 2024}} 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|first=Elita|last=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 |access-date=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 |access-date=17 November 2011 |url-status=dead |archive-url=https://web.archive.org/web/20111016124904/http://www.allmusic.com/album/ray-of-light-r333319 |archive-date=16 October 2011 |df=dmy-all }}</ref><ref>{{cite magazine|first=Rob |last=Sheffield |url=https://www.rollingstone.com/music/albumreviews/ray-of-light-19980402 |title=Ray Of Light Album Reviews |magazine=Rolling Stone |date=2 April 1998 |access-date=17 November 2011}}</ref> [[Björk]],<ref>{{cite web|last=Phares |first=Heather |url=http://www.allmusic.com/album/r184600 |title=Debut – Björk |website=AllMusic |access-date=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 |access-date=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 |access-date=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 |access-date=17 November 2011}}</ref> have also been influenced by the genre. Trip hop has spawned several subgenres,<ref>{{Cite journal|last1=Deruty|first1=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]]).

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|archive-url=https://web.archive.org/web/20160304065033/http://www.triphop-music.com/band/RJD2|website=TripHop-Music.com|archive-date=4 March 2016|access-date=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 |access-date=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 |access-date=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 |access-date=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 |access-date=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>

During the late 1990s and early 2000s trip hop achieved crossover success in the United States, often lumped under the "[[electronica]]" label. Trip hop songs were featured in film soundtracks of this era such as the ''[[The Matrix (franchise)|Matrix]]'' series. Many producers who were not explicitly trip-hop artists also displayed its influence during this time. Daniel Nakamura, aka [[Dan the Automator]], released two albums that were heavily inspired by trip hop. His 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 |access-date=25 April 2013}}</ref> was a concept album about a rapper from the future, portrayed by [[Del the Funky Homosapien]]. 2001 saw the release of his side project, [[Lovage (band)|Lovage]] and the album ''[[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 |access-date=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 |access-date=25 April 2013}}</ref> was his most commercially successful release.{{importance example|date=October 2024}} Another heavily trip-hop influenced band, [[Elsiane]], published their first album ''Hybrid'' in 2007, creating a "mellow, hypnotic atmosphere utilized in the ’90s by big names like Massive Attack, Portishead, etc."<ref>{{cite web|url=https://www.popmatters.com/elsiane-hybrid-2496125100.html|title=Elsiane: Hybrid|publisher=Pop Matters|first=Andrew|last=Martin|date=4 September 2008|access-date=12 November 2018}}</ref>

===2010–present===
Major notable trip hop releases from 2010s include Massive Attack's ''[[Heligoland (album)|Heligoland]],'' their first studio album in seven years; and Dutch's ''[[A Bright Cold Day]]'' in 2010, the latter group 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 |access-date=25 April 2013}}</ref><ref name="Allmusic">{{cite web|url=http://www.allmusic.com/album/a-bright-cold-day-r1796379|title=AllMusic Review|website=[[AllMusic]] |access-date=7 November 2012}}</ref>

[[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 |access-date=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."

[[Beak (band)|Beak]]'s album titled ''[[Beak 2|Beak>>]]'' 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 |access-date=25 April 2013}}</ref>

[[Lana Del Rey]] released her second album, ''[[Born to Die]]'' in 2012, which contained a string of trip hop ballads.<ref>{{cite magazine|last=Sheffield|first=Rob|title=Born To Die – Album Reviews – Rolling Stone|url=https://www.rollingstone.com/music/albumreviews/born-to-die-20120130|magazine=[[Rolling Stone]]|publisher=[[Wenner Media]]|access-date=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 |access-date=26 November 2013 |archive-date=27 September 2013 |archive-url=https://web.archive.org/web/20130927190016/http://www.ifpi.org/content/library/dmr2013.pdf |url-status=dead }}</ref>

Following the 2013 release of [[EP2 (FKA Twigs EP)|''EP2'']], the music of [[FKA Twigs]] was described in a ''[[Pitchfork Magazine]]'' article as "trip hop for a new time", with "a menacing undertow reminiscent of Massive Attack's ''Mezzanine''."<ref>{{cite web | url=https://pitchfork.com/features/rising/9183-rising-fka-twigs/ | title=FKA twigs | website=[[Pitchfork (website)|Pitchfork]] | date=August 2013 }}</ref>

In September 2021, the Sneaker Pimps released the album "Squaring the Circle" which had been their first release in over 20 years, featuring Simonne Jones on some of the tracks. The album, while rooted in Trip Hop, had much more of a Pop styling than previous efforts.<ref>{{Cite web |date=2021-09-23 |title=Sneaker Pimps Nod to the Past With 'Squaring the Circle' |url=https://www.popmatters.com/sneaker-pimps-squaring-circle-review |access-date=2024-09-14 |website=www.popmatters.com |language=en-US}}</ref>

In April 2024, Irish rock band [[Fontaines D.C.]] released "[[Starburster]]", the lead single from their fourth album ''[[Romance (Fontaines D.C. album)|Romance]]''. Critics [[Consequence (publication)|''Consequence'']] and [[Clash (magazine)|''Clash'']] described the track as trip hop.<ref>{{Cite web |date=2024-04-19 |title=Fontaines D.C.'s "Starburster" Is Our Song of the Week |url=https://consequence.net/2024/04/fontaines-d-c-starburster-song-of-the-week/ |access-date=2024-09-05 |language=en-US}}</ref><ref>{{Cite web |last= |first= |last2= |date=2024-04-17 |title=On Returning: Fontaines D.C. - 'Starburster' {{!}} Reviews |url=https://www.clashmusic.com/reviews/on-returning-fontaines-d-c-starburster/ |access-date=2024-09-05 |website=Clash Magazine Music News, Reviews & Interviews |language=en-GB}}</ref>

In the mid-2020s, the genre saw a resurge, most notably in the music of pop acts like [[FKA Twigs]], [[Addison Rae]] and [[Tame Impala]]. FKA Twigs' third studio album ''[[Eusexua]]'' saw elements of trip hop in its production, which was smiliar for the debut studio album of American recording artist [[Addison Rae]]. Critics argued that both albums were laced with trip hop influences, and resembled [[Madonna]]'s 1998 studio album ''[[Ray of Light]]''<ref>{{cite web|url=https://www.bbc.com/culture/article/20250730-why-madonnas-ray-of-light-is-2025s-hottest-album|title='Her vulnerability still resonates deeply': Why Madonna's Ray of Light is 2025's hottest album|first=Nick|last=Levine|date=31 July 2025|website=BBC Culture}}</ref>

==See also==
* [[Chill-out music]]
* [[Acid house]]
* [[List of electronic music genres]]
* [[List of trip hop artists]]

==References==
{{Reflist}}

==External links==
{{Commons category}}
*[{{AllMusic|class=explore|id=essay/|pure_url=yes}} "Trip-Hop" Allmusic guide essay by Sean Cooper]
*[http://www.triphop-music.com/ "World of Trip Hop" Webpage] {{Webarchive|url=https://web.archive.org/web/20201210072124/http://www.triphop-music.com/ |date=10 December 2020 }}
*[https://web.archive.org/web/20130506044306/http://www.triptica.com/ Triptica - An internet Radio dedicated to Trip Hop]
*[https://www.npr.org/blogs/therecord/2012/01/31/142607358/local-groove-does-good-the-story-of-trip-hops-rise-from-bristol?sc=fb&cc=fp NPR's history of trip hop]

{{Electronica}}
{{hip hop}}
{{Authority control}}

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[[Category:1994 introductions]]
[[Category:Electronica]]
[[Category:Hip-hop genres]]
[[Category:Electronic music genres]]
[[Category:Hip-hop]]
[[Category:Fusion music genres]]
[[Category:British hip-hop]]
[[Category:English styles of music]]
[[Category:Music in Bristol]]
[[Category:Downtempo]]