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Story of Bristol’s Trip hop, told through 5 key snapshots

Trip hop was born out of the burgeoning underground Bristol music scene in the early ’90s due to the region’s budding multiculturalism, notably with heavy Jamaican dub influences.

The genre appeared through an amalgamation of seedy house concerts, underground raves and block parties — the deliberate and accidental mixture of dub, R&B, electronica, hip hop, jazz, soul and funk into a distinctive sound.

Sonically, Trip hop, oftentimes called “ downtempo ,” utilizes saxophones, trumpets, flutes, Mellotrons, theremins, the Rhodes pianos and female vocalists over obscure samples. While the term would not be coined until 1994, the swelling soundscapes of Trip hop were born in the previous decade. This niche genre’s early progenitors traced their influences back even further, some of whom even found inspiration from vintage spy noir films of the early 20th century.

The genre proves that dance music needs not be danceable, while simultaneously expanding hip hop’s emotional depth and geographic influence outside of the United States’ firm grip .

You have probably heard Trip hop without consciously identifying the genre. Frequently used in cinema, the songs are dark, subdued and lyrically opaque, yet still unmistakably groovy. Listen to Trip hop’s evolution and transformation throughout the ’90s with these critical tracks.

“ Unfinished Sympathy ” (1991) — Massive Attack

“Unfinished Sympathy” is a triumphant amalgamation of what made early Trip hop so powerful and evocative. The track on Massive Attack’s debut album “ Blue Lines ” (1991), composed of three separate obscure musical samples — J.J. Johnson, Bob James and Mahavishnu Orchestra — features a cascading live 40-piece string ensemble, a steady programmed drum beat and a danceable bassline that anchor vocalist Shara Nelson’s poignantly- delivered lyrics about heartache.

“I know that I’ve imagined love before / And how it could be with you,” Nelson belts in the first verse . “Really hurt me, baby, really cut me, baby / How can you have a day without a night?”

Despite the somber lyrics, “Unfinished Sympathy” feels heroic and cinematic, a complete color scale of emotion infused with a sense of grandeur. Structurally, the track contains no recurring chorus or bassline. Nonetheless, Massive Attack’s first breakthrough single endures because of its timelessness and authenticity.

“ Human Behaviour ” (1993) — Björk

The opener “Human Behaviour” on Björk’s international debut studio album “ Debut ” (1993) combines a booming timpani drum, a whirly keyboard and a sample taken from a Ray Brown Orchestra song to thrust the listener into the artist’s fundamental worldview.

“There’s definitely, definitely, definitely no logic / To human behaviour,” Björk wittingly belts over the song’s chorus . “But yet so, yet so irresistible.”

Though not classically Trip hop, Björk put her spin on the Bristol sound throughout “Debut” by execution of her introspective and continually-opaque lyrics, subdued backbeats, obscure sample choices and commitment to forging new pathways between hip hop and dance beats. The avant-garde Icelandic artist is unusually accessible throughout the LP.

“ Glory Box ” (1994) — Portishead

My introduction to trip hop, unsurprisingly, was Portishead’s epochal single “Glory Box,” the closer to their Mercury-Prize-winning debut album “ Dummy ” (1994). The song sways in a hypnotically-dizzying pattern, anchored down by a sampled drum beat, a languid bassline and an Isaac Hayes sample extracted from his LP “ Black Moses ” (1971).

“Give me a reason to love you,” lead singer Beth Gibbons softly exclaims over the chorus , battling against a descending distorted lead guitar. “Give me a reason to be a woman.”

The closing track, along with the rest of Portishead’s debut album, is a necessary fixture within the “Trip hop” canon. “Glory Box” wraps all the best parts of the genre — spy noir aesthetic, gloom, intrigue and unparalleled sensuality — into a dense five minutes. The album feels purposefully cinematic, with the band members writing many of the songs off their debut to accompany their self-made spy-meets-mystery short film “ To Kill a Dead Man ” (1994).

“ Overcome ” (1995) — Tricky

Adrian Thaws, later known as Tricky , originally of the Bristol collective Massive Attack, splintered off from his parent group to forge a daring and successful solo career. His debut album, “ Maxinquaye ” (1995), continued to push the subgenre of Trip hop and expand its sonic palette. Upping the ante from Portishead’s “Dummy,” Tricky’s opening statement as a solo artist is a sedated, ominous and anxious exploration of the Bristol sound.

“You and her, walking through the suburbs / No, not exactly lovers,” vocalist Martina Topley-Bird sings on opener “Overcome,” a moody track that tackles the breadth of themes ranging from geopolitical violence to sexual intimacy. “You’re a couple, oh, ’specially when your bodies double / Duplicate and then you wait.”

“ Teardrop ” (1998) — Massive Attack

Only seven years later, Trip hop giant Massive Attack further elevated the genre with their third studio album “ Mezzanine ” (1998). “Teardrop,” the collective’s most prominent commercial hit , utilizes Elizabeth Fraser’s breathy and indecipherable lyrics with a laid back drumbeat.

“Teardrop on the fire / Fearless on my breath,” Fraser triumphantly sings over the song’s dreamy and imposing chorus .

Decades into becoming a solidified sound, “Trip hop” inspires and pushes artists forward across musical genres. Today, musicians like Gorillaz, Deftones, Radiohead, Billie Eilish, Lana Del Rey and even the soundtrack for the film “The Matrix” (1999) have found inspiration from the Bristol-based hybrid sound.

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The definition of “trip-hop” is a slippery one; even one of the genre’s pioneers has trouble pinning it down. “Essentially, it needs to have a down-tempo beat, to be hypnotic and narcotic to an extent—that chilled-out, slowed down feeling,” says Sneaker Pimps ’s Liam Howe, whose album Becoming X was one of the genre’s foundational LPs. “It also has to have a little bit of dub, a bit of funk, soul, and jazz. We put quite a lot of guitars and folk music into it as well, and if you push genres like hip-hop and jazz as far as they can go, then you come up with a new amalgamation of sound.”

That “new amalgamation of sound” first began taking shape in the early ‘90s. Massive Attack’s 1991 album Blue Lines is considered the origin point of the genre, a blueprint for how to blend hip-hop, synth, and dub into a commercial product. Portishead’s Dummy arrived three years later, and immediately became the dinner party album for the cool set, introducing the world to the gorgeous, ghostly vocals of Beth Gibbons. Now, some 20 years later, traces of the genre can be heard in the music of FKA Twigs, serpentwithfeet , Arca , and the xx, and the Sneaker Pimps themselves have ended a two-decade hiatus, returning with their fourth studio album, Squaring the Circle . And though it’s primarily associated with the UK, these days there are more than a few notable international acts mining trip-hop to inform their own sound.

These are just a few of the new faces of trip-hop.

Sneaker Pimps Becoming X

The Sneaker Pimps’s most iconic album, Becoming X, helped to solidify the UK trip-hop sound. Released in 1996, the album featured the seductive croon of Kelli Ali , and breakout hits “6 Underground” and “Spin Spin Sugar” combined dreamy electronica beats with crackling vinyl samples and layers of acoustic guitar and keyboards. Ali departed after this album, but founding members Chris Corner and Liam Howe pressed on, with Corner assuming vocal duties on the two albums that followed.

“When we were starting to make music in the early ‘90s, we were making instrumental dance music, and there was a similar scene in London,” says Howe, who in addition to his role in Sneaker Pimps has also produced tracks for Lana Del Rey , FKA Twigs, and Marina and the Diamonds . “We were about three-quarters of the way through writing Becoming X when Portishead’s Dummy came out, and that’s when the defining term ‘trip-hop’ landed. We used to call it ‘head music’ before that.” As its title suggests, the group’s fourth album Squaring the Circle is a return to their musical beginnings. “The new album has one foot in that ‘90s trip-hop era, because that’s part of our DNA, [but it’s also] a mixture of Becoming X, Splinter, and Blood Sport . It’s the same band, doing the same thing that we always did.”

Kelli Ali Ghostdriver

Former lead singer of Sneaker Pimps, Kelli Ali’s most recent album is the soundtrack to the film Ghostdriver (2021), which she wrote, produced, and directed. It’s a glimmering, romantic beast of a record, full of skittering percussion, operatic harmonies, and gothic melodrama; songs like “Fade To Black” and “Waiting For Grace” are sweetly melancholy, and the tone  is appropriately cinematic throughout, employing both jazzy brass and, on tracks like “The Fear of London,” video game-style synths. Howe contributed extensively to the mix and production, a throwback to their days working together in Sneaker Pimps. “I’ve always kept in touch with Kelli, she’s lovely,” he says. “She’s got fantastic character to her voice—it’s perfect for a soundtrack. In trip-hop, there was so much influence from ‘60s and ‘70s film soundtracks, and that noir, cinematic sound is a great fit for her voice.”

Sevdaliza Shabrang

Netherlands-based Sevdaliza channels her experiences as an Iranian-Dutch woman into trip-hop tracks that are both political and personal. Born in Tehran, Sevdaliza has used her music and her public presence to address prejudice against Muslims in Western countries. Her 2017 track “ Bebin ” protested the ban on Muslims entering the U.S .; it was the first song she’d performed entirely in Persian. Her 2020 album Shabrang (a Farsi phrase that loosely translates to mean “night color”), is both malevolent and powerfully feminine. Bone-chilling strings, snarling beats, and futuristic urban club sounds lay the groundwork for her compelling voice. She sounds bereft on Farsi ballad “Gole Bi Goldoon,” fierce on “Darkest Hour,” and vulnerable over the slow clash of piano and softly clattering drums on “All Rivers At Once.”

Pale Spring CYGNUS

Los Angeles’s Emily Harper Scott and her partner and co-producer Drew Scott make the sort of fuzzy, spacious electronica that invites listeners to disappear inside the warmth of their sound. CYGNUS , released in 2019, is a showcase for Harper’s dexterous range, and her instincts for when to dial up the vocal dramatics and when to leave just aching silence. Her improvisational approach to songwriting on CYGNUS has roots in jazz and R&B—though the glitchy beats, gothic instrumentals, and surreal atmosphere are all signature trip-hop.

A/T/O/S waterman

The Belgian duo A Taste Of Struggle (A/T/O/S ) met in 2012 and released their self-titled debut two years later, but it’s last year’s waterman that serves as the ideal introduction to their sound. The pair’s blend of hip-hop, dub, and R&B frequently recalls Massive Attack; on tracks like the slow-simmering “connect the signs,” Amos’s R&B-inspired vocals perfectly complement the boxy beats and dub-like bass of producer Truenoys, while songs like “are you in love” have the moodiness of dubstep, reflecting the duo’s “old-meets-new” approach to trip-hop.

Dolphin Midwives Body Of Water

The music of Portland artist Sage Fisher, who records as Dolphin Midwives , is soulful, wistful, and romantic. Her latest album, Body of Water is aptly named—there’s something oceanic and fluid about its songs. On “Clearing,” vocal harmonies are layered over a steady synthetic heartbeat rhythm; “Bloom” is anchored by Fisher’s operatic vocals, synths unfolding slowly all around her. Fisher’s music has served as the soundtrack for dance and sound installations in art galleries and at festivals. Fittingly, Body of Water is the kind of multi-layered record that invites multiple interpretations.

Public Memory Wuthering Drum

Like its cover art, the sound on Public Memory ‘s 2016 LP Wuthering Drum is distorted and strange, but beautiful. On “Ringleader,” murky, malevolent synths sizzle over a somnambulant beat. On “Domino” and “Lunar,” Robert Toher’s vocals duck in and out of the layered strings, bells, and vintage video game sounds. The effect is both haunting and peaceful at once. Though Toher sings of isolation and loneliness, there’s something lovely in the consistent tone and pace of the tracks that seeks to connect and remain alive.

Time For Dreams Life of the Inhabitant

Time For Dreams are the Melbourne-based duo of Amanda Roff and Tom Carlyon, and their darkly humorous single “Death to All Actors” epitomizes their gothic, playful attitude. Sweeping synths and crackling percussion create a foreboding atmosphere, but they’re countered by warm atmospherics. Recorded in the cold environs of Mount Macedon, the album has a pervasive sense of haunted, unexplored space. It’s an album full of beautiful contradictions, pitting the organic sound of the human voice against synthetic arrangements, mirroring the natural push-and-pull of human existence.

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Trip Hop: The Evolution from The Underground

A brief history of trip hop.

The city of Bristol, United Kingdom has been the epicenter for a multitude of musical movements, including sparking the flame of the trip hop sound. In short, trip hop fuses the organic worlds of funk, soul, and jazz with psychedelic electronica timbres designed to invoke emotions deeper than traditional hip hop.

While artist like sample-based hip hop don DJ Shadow were getting busy stateside in crafting that goes deeper than east coast boom bap or west coast G-funk, the multicultural center of activism Bristol, UK was flaring with a new movement: trip-hop aka downtempo.

Trip-hop swerved from the mainstream appeal of hip hop where graffiti, breakdance, and hip hop were the cultural norm. Instead, style of music with big appeal in the UK underground at the time, namely breakbeat, helped this genre unfurl. Breakbeat is simple “broken beats”, which originate from jazz and funk and evolved into trip-hop, jungle, drum n bass, funky breaks, etc.

What’s the Difference between Downtempo and Trip Hop?

Trip Hop is of Bristol, UK origin from the late 80s/early 90s and embodies breakbeat influence, while keeping the psychedelic nature in the lyrics and instrumentation. “Downtempo” is of Ibiza, Spain origin which retains an ambient nature dedicated to chill-out spaces in the Ibiza clubs.

There’s a difference in the feel of the two sibling-genres, as well, despite their differences. Both include ambient and psychedelic textures but are separate rhythmically.

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Classic Examples of Trip Hop

Probably one of the most prominent trip hop groups out of Bristol, UK who started in 1991. Most known for their hit track "Glory Box", this trio paved the way for an entire modern sound.

Among the first North American voices in trip hop where DJ Shadow out of the Bay Area brought together sample-based hip hop with psychedelic undertones. Tracks like "Midnight in a Perfect World" off of his 1996 album Endtroducing.... remains an identifiable track within his catalogue

Massive Attack

The originators of the trip-hop movement, the Massive Attack duo out of the Bristol, UK area have shaped the culture with their heavy instrumentals and epic melodies. Tracks like "Teardrop" off of their 1998 album Mezzanine remains their most streamed track on Spotify.

While the above acts covered the golden years of trip hop in the early and mid nineties, American producer RJD2 is a voice from the early 2000s. His most recognizable tune is "Ghostwriter" off of his 2002 album Deadringer .

Where Is Trip Hop Going?

It's dwindling...Or is it?

Trip-hop has now been absorbed by other styles since its inception. Google Trends shows the biggest activity from the beginning of its own history. Naturally, this is because trip-hop was popular before search engine's existence.

But now, the musical landscape has grown into a colorful vine of sub-genres and spin-offs. While the search trends for trip-hop go down, it isn't to say that it is dying. It is rather changing. New modes of trip-hop style from psy-dub, to lo-fi hip hop, to glitch space bass are the branches of the trip-hop tree that are now flowing out.

Modern Examples of Triphop + Spin-Offs

The trip hop influence has unwound into various sub-sects of electronic music showing us the results of its evolution through time. Below are examples of up and coming artists who all embody the trip hop sound

Seppa - Bass Infused Trip-Hop

This track comes from a producer who lives in the very region trip-hop was born. The city of Bristol, UK is known for its eclectic nightlife and celebrates innovation in music. Kind of like a silicon valley for huge tunes. Producer Seppa brings a searing edge with massive sound designs that often come with trip hop style beats, drum n bass, or half-time grooves.

Read more about Seppa in our our interview with him .

il:lo - Trip-Hop With World Sounds

This French duo bring lots of world music sounds and synths to their blend of trip hop inspired tunes. Expect vast soundscapes and beautiful vocal pads from releases like their 2019 Sloh.

Discover more about il:lo in their mini mix and interview on Stereofox .

Nym - Cinematic Downtempo

Durham, NC producer Nym is a storyteller. He combines many aspects, from film samples, to worldly percussion and instruments, to vocals and mixes them into an ethereal experience that certainly puts the "trip" in "trip hop". Check out the title-track to his 2019 album:

Somatoast - Psy-dub & Trip-Hop

Psychedelic and weird is what Texan producer is all about. His tunes can't really be classified, but he certainly includes a flavor of dub, hip hop, and wonky sounds. Check out his track "Broken Bits" off of his 2019 release Live Dreaming:

Trip Hop Playlists

If you're new to trip hop, returning to it, or a big fan of it, then here are some solid windows into the genre. Spotify has a robust selection of trip hop classics in their Trip Hop playlist.

If you're looking to expand upon trip-hop and swim around in the world of ambient music, which is not exclusively limited to trip hop, check out our regularly-updated, curated Spotify playlist Ambient Space :

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Trip-Hop—or Something Close to It—Is Making a Comeback

A new generation of artists has rejuvenated the sultry, slow-moving 90s genre, and they’re taking it into decidedly weird new places.

By Shawn Reynaldo

Shawn Reynaldo is a Barcelona-based writer and editor who specializes in electronic music. His First Floor newsletter often zeroes in on developments in the genre’s corresponding industry and culture, but the Second Floor column is designed to spotlight the music itself, examining trends, recommending releases, and keeping tabs on what’s happening both on and off the dancefloor.

In the aftermath of the pandemic, the electronic music discourse has been dominated by observations of just how fast everything has become . Happy hardcore. Gabber. Breakcore. Hard house. Jungle. Chipmunk-voiced edits that marry disembodied pop divas with brain-splitting beats . Is it simply the latest nostalgia loop in a musical sphere that’s long been predicated on recycling? A natural musical evolution during a time of shortened attention spans and a culture that’s generally consumed in rapidfire, 30-second increments?

Perhaps it’s merely a reflection of how the latest generation of ravers were weaned on streaming platforms, their tastes shaped by a space in which genre lines are nonexistent,  curation has largely been left up to algorithms, and there’s effectively zero divide between mainstream and “underground” sounds. Whatever the reason, the average dance party in 2023 is likely to be soundtracked by garish—and quite possibly nosebleed-inducing—tunes. And while that’s caused all sorts of consternation amongst older heads and the genre’s various (some might say self-appointed) arbiters of good taste, all the focus on rising bpms has obscured a much different resurgence within the electronic music world:

Trip-hop, or least something resembling trip-hop, is very much making a return.

Cue someone yelling, “But trip-hop never went away!”

It’s true: Trip-hop has been something of a mainstay since the 1990s, when it first emerged in the UK (primarily in Bristol). An unorthodox blend of hip-hop, street soul, R&B, dub, and UK soundsystem culture—which, of course, had its roots in Jamaica—the genre became a global phenomenon during the mid 90s, its popularity fueled by groundbreaking albums from the likes of Massive Attack, Portishead, Tricky, and numerous other (primarily British) acts. (Oddly enough, the term trip-hop was first used in print to describe the work of DJ Shadow, who hailed from California. That said, his music was being released at the time by London label Mo’ Wax, which quickly became one of the nascent genre’s key outposts.)

This music was slow, soulful, and often sultry. Moreover, it was tangibly human. Much like their rave-addled peers, trip-hop producers loved their machines, but they also recognized that the tortured wails of Portishead’s Beth Gibbons, Tricky’s scratchy growls, and the provocative come-ons of Martina Topley-Bird offered something that not even the most advanced piece of gear could reproduce. That realness proved intoxicating, and in combination with the music’s palpable sense of bassweight, the music coalesced into something resembling a patient, late-night strain of lust-filled boom-bap.

Somehow, trip-hop felt both futuristic and retro at the same time. And though it flirted with pop structures, its appeal cut across a wide range of musical subcultures—including the notoriously nitpicky digger crowd, who delighted in its frequent use of samples lifted from vintage jazz and funk records.

As the 90s wore on, the stature of its leading artists grew—it’s telling that the names of the artists listed above still ring out today, nearly 30 years later. But the genre itself became something of a victim of its own success, particularly once the mainstream music industry cottoned on to its woozy grooves. Within just a few years, trip-hop was forced to share shelf space with a flood of “downtempo” and “chillout” releases, many of them pushing sounds that were safer, blander, cleaner, and noticeably whiter than what its Bristolian originators had first cooked up. The grit, the sweat, and, in many cases, the soul of trip-hop sounded like they had been excised, replaced by something better suited to polite coffeehouses and corporate compilations.

Buried under an avalanche of easily digestible, lounge-ready downtempo and, eventually, the faceless tedium that populates the average “lo-fi beats to relax/study to” playlist, the genre gradually lost much of its cultural currency. And though it never disappeared completely—celebrated originators like Massive Attack and Portishead would re-emerge every once in a while with new music, and traces of the genre’s dusty rhythms and soulful yearning could be detected in the work of everyone from Flying Lotus to FKA Twigs—it never quite regained its former prominence, even as ambient music went through a seemingly endless series of revivals. For most, trip-hop remained something of a 90s-era curio, which perhaps explains its recent resurgence, particularly amongst Gen Z crowds (who seem to have a serious passion for all the 90s sounds/styles they were too young to experience the first time around) and older millennials (who likely remember getting their mind blown by Massive Attack’s Mezzanine album after first hearing “Dissolved Girl” in The Matrix ).

It’s difficult to pinpoint exactly when the latest wave of trip-hop-influenced sounds began to take root, but the network of artists and labels that Philip Sherburne once dubbed the West Mineral Cinematic Universe feels like a good place to start. Centered around Huerco S. and his West Mineral Ltd. imprint, it’s grown to include labels like 3XL and Motion Ward , and its leading protagonists ( Special Guest DJ , Ben Bondy , Pontiac Streator , Ulla , perila , Mister Water Wet , Exael , and others) all appear determined to combine and collaborate in a seemingly endless number of permutations. Their music isn’t trip-hop in the traditional sense—terms like “weirdo ambient” are perhaps more fitting—but it certainly shares some of the genre’s aesthetic sensibilities, leaning heavily on hip-hop beats and hazy atmospheres while charting a heavily blunted course towards oblivion.

Although there are still prominent contemporary UK acts referencing the trip-hop canon—Manchester duo Space Afrika are arguably leading the way in this regard—there’s no question that current iterations of the genre often have a distinctly American orientation. Traces of soundsystem culture remain in the mix, but the music is now more likely to take clear cues from Southern rap, along with the fuzzy textures that defined both 90s grunge and the formulaic alternative rock that followed in its wake. It’s not a coincidence that Shinetiac—a collaboration between Shiner, Pontiac Streator, and Ben Bondy—dropped a freaky rework of the Foo Fighters’ “Everlong” on West Mineral Ltd. earlier this year, or that naemi (an alias of Exael) teamed up with perila in 2022 to put together a cover of Puddle of Mudd’s “Blurry.”

Not everyone so blatantly wears their childhood influences on their sleeve. But whether we’re talking about a dance music upstart like Maara or an ambient-loving rap fiend like 3XL affiliate Nueen , today’s trip-hop experimenters do share an affinity for distinctly digital—some might say artificial—sounds. Samples often take the place of human vocals, and even when actual singing is involved, it often takes a backseat to beatmaking and sound design. That’s likely because most of these artists are producing on laptops and working on a budget, but it does lend even their haziest tunes a sheen that their 90s predecessors could never muster in the studio—and likely didn’t want to. 

That’s not a knock on the new class. Some of their tunes may lack a certain degree of organic gloom and erotic allure, but they double down on weirdness and sonic experimentation, tapping into the hybrid spirit at the core of trip-hop while expanding their palettes to bring in bits of new age, ambient, pop, and even emo. It’s escapist, yes, but there’s also a genuine vulnerability to the work, a willingness to embrace messiness that runs counter to the often hyper-curated nature of the wider cultural landscape. These artists aren’t making music for the club or the cafe. They’re making tunes that capture the existential loneliness of being home alone with a broken heart, longing for connection but having no one to talk to but some randoms on the internet. It’s music for feeling something, and perhaps that’s what makes it so potent.

Below are a smattering of recent-ish releases that reside in that lane. Regardless of whether they technically qualify as trip-hop, they’re definitely trip-hop adjacent. And they’re all very much worth a listen.

Yushh - Look Mum No Hands

[Wisdom Teeth]

Given the geographic origins of trip-hop, it feels right to begin this round-up with an actual Bristolian, and Yushh is one of the city’s most promising young bass manipulators. Head of the Pressure Dome imprint, most of her productions are aimed at the dancefloor, and the title track of her Look Mum No Hands EP could certainly flex a bassbin or two. Rather than unleashing low-end mayhem right out of the gate, though, it initially takes a more relaxed approach, filling its spaced-out confines with gloopy textures and ghostly groans. Is trip-dubstep a thing? Maybe it is now.

A.s.o. - a.s.o.

[Low Lying]

The closest thing to a prototypical trip-hop project on this list, a.s.o. . is a collaboration between singer/songwriter Alia Seror-O’Neill and producer Lewie Day, who’s also spent years making reliably sunny house grooves as Tornado Wallace. Following a series of low-key singles, the Berlin-based duo dropped their debut album earlier this year, and its sensual grooves might make the listener feel as though they’ve stepped into a time machine. Seror-O’Neill’s breathy tones land somewhere between Stevie Nicks and what Shirley Manson was going with Garbage during the 90s, and they’re perfectly complimented by Day’s moody beats and gauzy melodies. Toss in hints of shoegaze, some 4AD-style melodic elegance, and a smattering of subtle pop hooks, and this record is poised to warm even the coldest of hearts.

Niecy Blues - Exit Simulation

Most musical tales of woe tend to revolve around romances gone awry, but Niecy Blues has a much deeper well of torment to draw from, having spent part of her childhood in a Christian cult in Oklahoma. Now based in South Carolina, she’s gone a long way toward exercising those ghosts on Exit Simulation , an album that combines the devotional grace of gospel with gently clattering rhythms, softly strummed guitar, and the spellbinding tendrils of her own reverb-soaked voice. There are no clever winks or internet in-jokes here—just a nakedly human expression of grief and gratitude by an artist who’s steeped in a number of Black musical traditions, and appears determined to push them into hypnotic new territory.

Tirzah - trip9love…???

Magic happens pretty much anytime Tirzah and her longtime collaborator Mica Levi get together, but ‘trip9love…???’ is a boldly stripped-down effort, one that sees the pair use literally the same, trap-indebted drum loop throughout the entire album. In less skilled hands, that might seem lazy, but the blown-out beats provide the perfect foundation for Tirzah’s dreamily aching vocals. Someone like Sade feels like an obvious reference point, and Tirzah exudes a similar sense of confident cool, but she does so while operating within a persistent fog of scratchy static and tonal squall. Others in her position would be forced to tromp in the muck, but somehow Tirzah manages to glide right through it.

Malibu Beach Club - “Fighter Mode”

[Malibu Beach Club]

Having spent more than a decade crafting various shades of house, disco, and techno, Austrian producer Demuja recently unveiled his new Malibu Beach Club alias, stating that the moniker would be devoted to “all kinds of different genres,” but namely ambient, glitch, trip-hop, and IDM. (If this guy is now making trip-hop-indebted tunes, I defy anyone to say that the genre hasn’t come back into fashion.)  “Fighter Mode” was the project’s debut single, and though the lack of vocals might prompt some to say, “This isn’t trip-hop,” it sounds like a particularly sparkly take on what DJ Shadow and any number of leftfield West Coast hip-hop producers were doing during the 90s, and wouldn’t have been out of place on one of Mo’Wax’s seminal Headz compilations.

Title Image: Niecy Blues - 'Exit Simulation'

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The 40+ Best Trip Hop Artists, Ranked

Vote on the bets trip hop artists.

If you are ready for a journey through one of the most eclectic music forms, consider trip hop. Trip hop music awakens the senses and unlocks a treasure trove of rhythm, style and emotion. This genre is steeped in the roots of British electronica, breakbeat, and hip hop. It's fascinating to wend your way through a collection of the finest trip hop artists whose songs have made a profound impact on music scenes globally. 

The best trip hop groups paint an enchanting picture of profound musical innovation, blending various styles to create something unique and potent. Their transformative influence on trip hop's evolution becomes apparent with each resonating beat and soulful lyric. The music vibrates with a deep resonance that echoes across the mainstream and indie audiences, highlighting the uniqueness of each artist and their indelible mark on the genre. 

In the illustrious lineup of trip hop artists, certain names stand out. These include top trip hop bands like Portishead , Massive Attack, and Tricky. Portishead's hauntingly beautiful melodies tug at the heartstrings of the listeners, making the band famous. Massive Attack, with their groundbreaking albums, brought a new perspective to the genre, a testament to their status among the best trip hop artists. Tricky melded raw emotion with creative beats resulting in a distinctive sound that resonates with fans to this day. Their achievements, ranging from memorable songs and classic albums to prestigious awards, speak volumes about their stature in the trip hop universe. 

Reflecting on the history of trip hop music and its best artists presents a captivating saga of artistic expression, innovation, and boundary-pushing beats. Distinguished by their individual style and contributions, these trip hop bands have set new standards for the genre with magical tunes that continue to inspire, entertain, and move audiences around the world. 

Portishead, the brainchild of Geoff Barrow, Beth Gibbons, and Adrian Utley, revolutionized trip hop in the 90s with their groundbreaking albums Dummy  and Portishead . With a hauntingly atmospheric sound that flawlessly combined eerie vocal melodies, innovative sampling techniques, and cinematic soundscapes, Portishead captured the imagination of music lovers everywhere. They managed to push the boundaries of the genre by blending elements of jazz, electronica, and rock, ultimately creating a hypnotic experience that became synonymous with the trip hop movement. To this day, Portishead remains a luminary of the scene, continuously inspiring generations of artists with their emotive and timeless compositions.

Rock Out To Some Of The Most Popular Songs From Portishead   - "Glory Box"   - "Sour Times"   - "Roads"

Dive Into Portishead's History With Some Unique Deep Cuts   - "It's a Fire"   - "Over"

Massive Attack

Massive Attack, hailing from Bristol, England, have long been considered pioneers in the realm of trip hop. The trio, consisting of Robert Del Naja, Grant Marshall, and Andy Vowles, crafted a unique sound that seamlessly merged elements of dub, reggae, soul, and electronica. Their seminal album Blue Lines  served as a blueprint for trip hop, boasting an array of downtempo beats, ethereal ambience, and thought-provoking lyricism. Massive Attack's innovation and experimentation within the genre have solidified their legacy as one of the most influential trip hop acts of all time.

Rock Out To Some Of The Most Popular Songs From Massive Attack   - "Teardrop"   - "Unfinished Sympathy"   - "Angel"

Dive Into Massive Attack's History With Some Unique Deep Cuts   - "Karmacoma"   - "Black Milk"

UK-based artist Tricky, born Adrian Thaws, quickly emerged as a trip hop icon with the release of his debut album, Maxinquaye . His distinct fusion of hip hop, rock, and electronica resonated with listeners seeking something more subversive and experimental within the genre. Drawing heavily on his Jamaican roots and experiences growing up in Bristol, Tricky's music showcased his powerful storytelling abilities and otherworldly production skills. As a result, Tricky has remained an essential figure within the trip hop scene, continuously pushing the envelope with each successive release.

Rock Out To Some Of The Most Popular Songs From Tricky   - "Hell is Round the Corner"   - "Black Steel"   - "Ponderosa"

Dive Into Tricky's History With Some Unique Deep Cuts   - "Vent"   - "Christiansands"

Morcheeba, a British trio consisting of siblings Paul and Ross Godfrey and vocalist Skye Edwards, captivated listeners with their polished blend of trip hop, electronica, and pop. Their debut album Who Can You Trust?  served as a prime example of their ability to create moody, atmospheric compositions that showcased Edwards' sultry vocal stylings. Morcheeba's ability to navigate the diverse sonic landscape of trip hop while maintaining a strong focus on melody earned them critical acclaim and a devout following. Over time, the band has continued to evolve, solidifying their status as a versatile powerhouse within the genre.

Rock Out To Some Of The Most Popular Songs From Morcheeba   - "The Sea"   - "Trigger Hippie"   - "Rome Wasn't Built in a Day"

Dive Into Morcheeba's History With Some Unique Deep Cuts   - "Friction"   - "Big Calm"

Sneaker Pimps

Established in the mid-90s, the British trip hop trio Sneaker Pimps, composed of Chris Corner, Liam Howe, and Kelli Ali, brought a unique spin to the genre with their compelling mix of electronica, alternative rock, and darkly melodic pop. Their debut album Becoming X  showcased innovative production techniques, catchy hooks, and Ali's alluring vocals, which quickly garnered them international attention. Not content to remain static, Sneaker Pimps continued to explore and push the boundaries of trip hop, consistently reinventing their sound and remaining an influential force within the scene.

Rock Out To Some Of The Most Popular Songs From Sneaker Pimps   - "6 Underground"   - "Spin Spin Sugar"   - "Tesko Suicide"

Dive Into Sneaker Pimps' History With Some Unique Deep Cuts   - "Low Place Like Home"   - "Grazes"

British duo Zero 7, comprised of Henry Binns and Sam Hardaker, emerged on the trip hop scene in the late '90s with a mission to blend chilled-out electronica, sophisticated pop sensibilities, and seductive downtempo grooves. Their debut album Simple Things , featuring collaborations with vocalists like Sia and Mozez, showcased the duo's penchant for crafting exquisitely lush and soothing soundscapes. Over the years, Zero 7 has continued to evolve and redefine their sound, often incorporating elements of jazz, soul, and world music, earning them a dedicated fanbase and a lasting impact on the trip hop genre.

Rock Out To Some Of The Most Popular Songs From Zero 7   - "Destiny"   - "In the Waiting Line"   - "Home"

Dive Into Zero 7's History With Some Unique Deep Cuts   - "Likufanele"   - "I Have Seen"

Hooverphonic

Belgian outfit Hooverphonic, led by mastermind Alex Callier, made a lasting impact on the trip-hop scene with their evocative, cinematic soundscapes that beautifully melded elements of pop, rock, and electronic music. From their breathtaking debut A New Stereophonic Sound Spectacular  to their more recent work, Hooverphonic has demonstrated an uncanny ability to create lush, immersive atmospheres with a keen sense of melody. With a revolving door of talented vocalists, including Liesje Sadonius, Geike Arnaert, and Luka Cruysberghs, the band has consistently defied expectations, solidifying their status as one of trip hop's most captivating acts.

Rock Out To Some Of The Most Popular Songs From Hooverphonic   - "Mad About You"   - "2Wicky"   - "Eden"

Dive Into Hooverphonic's History With Some Unique Deep Cuts   - "Vinegar & Salt"   - "Out of Sight"

French duo Nicolas Godin and Jean-Benoît Dunckel, better known as Air, brought a distinctly Gallic flair to the world of trip hop with their sublime fusion of electronic experimentation, retro-pop melodies, and dreamy atmospherics. Their seminal album Moon Safari , featuring hit singles like "Sexy Boy" and "Kelly Watch the Stars," captivated audiences with its timeless charm and ethereal beauty. Throughout their career, Air has consistently pushed the boundaries of trip hop by exploring a wide range of sonic palettes and textures, leaving an indelible mark on the genre.

Rock Out To Some Of The Most Popular Songs From Air   - "Sexy Boy"   - "La Femme d'Argent"   - "Cherry Blossom Girl"

Dive Into Air's History With Some Unique Deep Cuts   - "Le Soleil est près de Moi"   - "Talisman"

Thievery Corporation

Washington, D.C.-based duo Thievery Corporation, consisting of Eric Hilton and Rob Garza, have been synonymous with trip hop since their formation in the mid-'90s. With a sound that effortlessly fuses elements of dub, reggae, lounge, and electronica, the pair has developed a unique global sonic identity that transcends genre boundaries. Their debut album Sounds from the Thievery Hi-Fi  laid the groundwork for their signature sound, combining lush electronic soundscapes with hypnotic grooves and worldly influences. Over the years, Thievery Corporation has continuously evolved their eclectic sound, solidifying their status as one of trip hop's most innovative and boundary-pushing acts.

Rock Out To Some Of The Most Popular Songs From Thievery Corporation   - "Lebanese Blonde"   - "Sweet Tides"   - "The Richest Man in Babylon"

Dive Into Thievery Corporation's History With Some Unique Deep Cuts   - "Amerimacka"   - "The Mirror Conspiracy"

Josh Davis, known professionally as DJ Shadow, is an American producer and DJ who has left an indelible mark on the world of trip hop with his undeniable talent for crafting immersive beats and moody soundscapes. His groundbreaking 1996 debut Endtroducing...  is widely regarded as a trip hop classic, showcasing a mastery of sampling techniques, innovative production styles, and a keen ear for haunting, atmospheric sounds. Throughout his career, DJ Shadow has continued to explore and expand the boundaries of the genre, pushing the limits of what can be achieved through the art of sampling and beat making.

Rock Out To Some Of The Most Popular Songs From DJ Shadow   - "Midnight in a Perfect World"   - "Building Steam with a Grain of Salt"   - "Six Days"

Dive Into DJ Shadow's History With Some Unique Deep Cuts   - "Stem / Long Stem"   - "Organ Donor"

Nightmares on Wax

George Evelyn, the man behind Nightmares on Wax, has been weaving spellbinding webs of sound since the early '90s, blending elements of dub, electronica, and soul to create uniquely evocative trip hop compositions. With a discography that spans decades, Nightmares on Wax has earned a reputation for consistently crafting music that not only embodies the spirit of trip hop but also pushes the boundaries of the genre. From early classics like Smokers Delight  to more recent releases like Shape the Future , Nightmares on Wax has proven time and again that his innovative approach to music-making remains vital and engaging.

Rock Out To Some Of The Most Popular Songs From Nightmares on Wax   - "You Wish"   - "Les Nuits"   - "Flip Ya Lid"

Dive Into Nightmares on Wax' History With Some Unique Deep Cuts   - "Ethnic Majority"   - "Morse"

British musical mastermind James Lavelle, the driving force behind Unkle, has been captivating audiences with his dark and cinematic take on trip hop since the late '90s. Unkle's debut album Psyence Fiction , featuring collaborations with notable artists like Thom Yorke and Richard Ashcroft, showcased Lavelle's knack for blending moody electronic production with elements of rock, pop, and hip-hop. Over the years, Unkle's ever-evolving sound and roster of talented collaborators have helped cement the project's place in trip hop history as a daring, innovative force within the genre.

Rock Out To Some Of The Most Popular Songs From Unkle   - "Rabbit in Your Headlights"   - "Bloodstain"   - "Burn My Shadow"

Dive Into Unkle's History With Some Unique Deep Cuts   - "Celestial Annihilation"   - "Lonely Soul"

British duo Goldfrapp, led by the bewitching Alison Goldfrapp and multi-instrumentalist Will Gregory, emerged in the early 2000s as a force to be reckoned with in the realm of trip hop. Their debut album Felt Mountain  showcased a beguiling mix of cinematic orchestration, electronic experimentation, and Alison's enchanting vocals. Goldfrapp's enigmatic sound has continually evolved, encompassing elements of glam rock, synth-pop, and dance music, making them one of the most unpredictable and fascinating acts within the trip hop genre.

Rock Out To Some Of The Most Popular Songs From Goldfrapp   - "Ooh La La"   - "Strict Machine"   - "Lovely Head"

Dive Into Goldfrapp's History With Some Unique Deep Cuts   - "Utopia"   - "Black Cherry"

Lamb, the enchanting English duo consisting of producer Andy Barlow and vocalist Lou Rhodes, first made waves in the trip hop scene with their eponymous 1996 debut album. Their unique fusion of electronic experimentation, emotive vocals, and captivating songwriting quickly set them apart, winning them fans across the globe. With a sound that combines elements of jazz, drum and bass, and ambient music, Lamb has continually pushed the envelope, proving themselves to be one of the trip hop genre's most enduring and captivating acts.

Rock Out To Some Of The Most Popular Songs From Lamb   - "Gorecki"   - "Lusty"   - "Angelica"

Dive Into Lamb's History With Some Unique Deep Cuts   - "Cotton Wool"   - "Trans Fatty Acid"

Norwegian duo Röyksopp, comprising Svein Berge and Torbjørn Brundtland, emerged in the early 2000s with a distinct brand of trip hop infused with elements of synth-pop, ambient, and electronica. Their chart-topping debut, Melody A.M. , showcased their ability to create lush, atmospheric soundscapes punctuated by catchy hooks and intricate production. Throughout their career, Röyksopp has remained committed to exploring the boundaries of trip hop, collaborating with various artists and incorporating diverse influences into their constantly evolving sound.

Rock Out To Some Of The Most Popular Songs From Röyksopp   - "Eple"   - "Poor Leno"   - "Happy Up Here"

Dive Into Röyksopp's History With Some Unique Deep Cuts   - "So Easy"   - "A Higher Place"

Kruder & Dorfmeister

Austrian duo Kruder & Dorfmeister, composed of Peter Kruder and Richard Dorfmeister, have been at the forefront of the trip hop movement for decades, known for their innovative remix work and original productions. Their landmark compilation The K&D Sessions  featured reimaginings of tracks from a wide range of artists, showcasing their ability to transform songs into immersive, downtempo masterpieces. With their seamless blend of dub, jazz, and electronica, Kruder & Dorfmeister have left an indelible mark on the trip hop scene and inspired countless artists to follow in their footsteps.

Rock Out To Some Of The Most Popular Songs From Kruder & Dorfmeister   - "K&D Sessions" (This is an album containing various remixes)   - "Black Baby"   - "Deep Shit Pt. 1 & 2"

Dive Into Kruder & Dorfmeister's History With Some Unique Deep Cuts   - "Bug Powder Dust"   - "Sofa Rockers"

French producer Jean-Christophe Le Saoût, known by his stage name Wax Tailor, has been crafting elegant, cinematic trip hop since the early 2000s. With a penchant for lush orchestration, deft sampling, and moody atmospherics, Wax Tailor's music stands as a testament to the genre's enduring appeal and versatility. Throughout his career, he has collaborated with a diverse array of artists, pushing the boundaries of trip hop while remaining true to the genre's core aesthetic.

Rock Out To Some Of The Most Popular Songs From Wax Tailor   - "Que Sera"   - "Seize the Day"   - "Ungodly Fruit"

Dive Into Wax Tailor's History With Some Unique Deep Cuts   - "Positively Inclined"   - "Until Heaven Stops the Rain"

Japanese producer Hideaki Ishi, better known as DJ Krush, has been making waves in the trip hop world since the early '90s with his uniquely atmospheric and meditative soundscapes. Known for his groundbreaking use of sampling and turntablism, DJ Krush consistently pushes the boundaries of the genre by incorporating elements of jazz, hip-hop, and traditional Japanese music into his work. With a discography that spans multiple decades, DJ Krush remains an influential figure within the trip hop scene, inspiring future generations of artists with his innovative, genre-defying approach to music production.

Rock Out To Some Of The Most Popular Songs From DJ Krush   - "Kemuri"   - "Song 2"   - "Big City Lover"

Dive Into DJ Krush's History With Some Unique Deep Cuts   - "Road to Nowhere"   - "Meiso"

The London-based collective Archive has been pushing the boundaries of trip hop since forming in the mid-1990s. With a diverse and ever-evolving roster of musicians, the group has developed a sophisticated sound that incorporates elements of rock, electronica, and orchestral music. Their ambitious concept albums, like the acclaimed Londonium , showcase their ability to create sweeping, cinematic soundscapes full of emotion and depth. Archive’s unique take on trip hop has earned them a dedicated fanbase, solidifying their status as one of the genre’s most daring and innovative acts.

Rock Out To Some Of The Most Popular Songs From Archive   - "Bullets"   - "You Make Me Feel"   - "Again"

Dive Into Archive's History With Some Unique Deep Cuts   - "Conscience"   - "Numb"

American producer Ramble Jon Krohn, better known as RJD2, burst onto the trip hop scene in the early 2000s with his adventurous, genre-blurring approach to music-making. His debut album Deadringer  showcased a unique blend of hip-hop, electronica, and soulful sampling that garnered widespread acclaim and helped establish him as a pioneer within the trip-hop scene. Throughout his career, RJD2 has continued to push the boundaries of the genre by incorporating a wide range of influences and collaborating with various artists, solidifying his status as an innovative force in the world of trip hop.

Rock Out To Some Of The Most Popular Songs From RJD2   - "Ghostwriter"   - "Smoke & Mirrors"   - "The Horror"

Dive Into RJD2's History With Some Unique Deep Cuts   - "Dead Ringer"   - "Shot in the Dark"

Emancipator

Portland-based producer Doug Appling, known as Emancipator, has been a leading force in the trip-hop scene since the release of his acclaimed debut album Soon It Will Be Cold Enough . With a signature sound that blends lush instrumentation, intricate production, and cinematic soundscapes, Emancipator has consistently captivated listeners with his evocative and meditative compositions. A classically trained musician, Appling's ability to seamlessly weave together elements of electronic, hip-hop, and world music has helped him stand out as a unique and influential figure within the trip-hop genre.

Rock Out To Some Of The Most Popular Songs From Emancipator   - "Soon It Will Be Cold Enough"   - "Lionheart"   - "Anthem"

Dive Into Emancipator's History With Some Unique Deep Cuts   - "Periscope Up"   - "Nevergreen"

Irish singer Róisín Murphy and English producer Mark Brydon formed Moloko in the mid-'90s, bringing a quirky, innovative, and genre-defying sound to the world of trip hop. With hit singles like "Sing It Back" and "The Time Is Now," the duo crafted a distinct blend of electronic, pop, and dance music that set them apart from their peers. Throughout their career, Moloko's continuously evolving sound and Murphy's beguiling stage presence have earned them a dedicated fanbase and solidified their status as one of trip hop's most inventive acts.

Rock Out To Some Of The Most Popular Songs From Moloko   - "Sing It Back"   - "Time is Now"   - "Fun for Me"

Dive Into Moloko's History With Some Unique Deep Cuts   - "Pure Pleasure Seeker"   - "Dominoid"

Martina Topley-Bird

British singer-songwriter Martina Topley-Bird first emerged as a prominent figure within the trip hop scene through her collaborations with pioneering artist Tricky. Her distinctive, ethereal voice adds a unique depth to the atmospheric soundscapes that have come to define the genre. With subsequent solo work like her debut album Quixotic , Topley-Bird has demonstrated her ability to craft captivating trip hop compositions that seamlessly blend elements of electronica, pop, and rock. Her continued contributions to the genre have made her an enduring and influential presence within the trip hop community.

Rock Out To Some Of The Most Popular Songs From Martina Topley  -Bird   - "Sandpaper Kisses"   - "Need One"   - "Anything"

Dive Into Martina Topley  -Bird's History With Some Unique Deep Cuts   - "Too Tough to Die"   - "Steal Away"

Brazilian-born composer and producer Amon Tobin has long been heralded as a pioneer within the realm of trip hop and electronic music. His unique ability to fuse diverse influences, ranging from jazz and ambient to drum and bass, has earned him a reputation for pushing the boundaries of the genre and defying categorization. Tobin's atmospheric and immersive compositions, such as those showcased on his groundbreaking album Bricolage , remain influential touchstones within the trip hop scene and continue to inspire future generations of producers and musicians.

Rock Out To Some Of The Most Popular Songs From Amon Tobin   - "Four Ton Mantis"   - "Easy Muffin"   - "Stoney Street"

Dive Into Amon Tobin's History With Some Unique Deep Cuts   - "The Lighthouse"   - "Bridge"

The eclectic New York duo Cibo Matto, comprised of Japanese expats Yuka Honda and Miho Hatori, brought a quirky, genre-defying approach to trip hop with their 1996 debut album Viva! La Woman . Incorporating elements of hip-hop, pop, and experimental music, Cibo Matto's unconventional sound and whimsical lyricism set them apart from their peers. Their unique blending of styles and penchant for culinary-themed lyrics helped Cibo Matto carve out a distinct niche within the trip hop community, making them one of the genre's most memorable and singular acts.

Rock Out To Some Of The Most Popular Songs From Cibo Matto   - "Sugar Water"   - "Know Your Chicken"   - "Birthday Cake"

Dive Into Cibo Matto's History With Some Unique Deep Cuts   - "White Pepper Ice Cream"   - "Sci  -Fi Wasabi"

French musician and producer Jean-Yves Prieur, known as Kid Loco, has been a fixture in the trip hop scene since the mid-'90s, producing music that blends elements of dub, jazz, and electronica into an intoxicating, downtempo sound. His debut album A Grand Love Story  showcased his deft touch for crafting lush instrumental soundscapes that evoke a sense of warmth and nostalgia. With a career spanning multiple decades and numerous collaborations, Kid Loco has solidified his status as an influential figure within the trip hop genre.

Rock Out To Some Of The Most Popular Songs From Kid Loco   - "A Grand Love Theme"   - "She's My Lover"   - "The Bootleggers"

Dive Into Kid Loco's History With Some Unique Deep Cuts   - "Love Me Sweet"   - "Calling Aventura King"

Supreme Beings of Leisure

The Los Angeles-based collective Supreme Beings of Leisure merged trip hop with elements of lounge, world music, and electronica to create a unique and enticing sound in the late '90s. The group's self-titled debut showcased their ability to craft lush, groove-driven compositions that catered to fans of downtempo electronic music. Supreme Beings of Leisure's diverse influences and innovative approach to trip hop earned them a dedicated following and helped cement their place within the pantheon of influential acts in the genre.

Rock Out To Some Of The Most Popular Songs From Supreme Beings of Leisure   - "Strangelove Addiction"   - "Golddigger"   - "Never the Same"

Dive Into Supreme Beings of Leisure's History With Some Unique Deep Cuts   - "Ain't Got Nothin'"   - "Sublime"

Canadian singer-songwriter Esthero, born Jen-Bea Englishman, made a powerful entrance to the trip hop scene with her 1998 debut album Breath from Another . Her enchanting blend of jazz, pop, and electronica elements, combined with her candid lyricism and emotive vocals, struck a chord with listeners. While Esthero's sound has evolved over the years to include elements of R&B, hip-hop, and rock, her roots in trip hop remain evident, solidifying her status as one of the genre's most versatile and captivating artists.

Rock Out To Some Of The Most Popular Songs From Esthero   - "Breath from Another"   - "Heaven Sent"   - "That Girl"

Dive Into Esthero's History With Some Unique Deep Cuts   - "Swallow Me"   - "Telephone"

Bitter:Sweet

Los Angeles-based duo Bitter:Sweet, consisting of vocalist Shana Halligan and producer Kiran Shahani, delivered a sultry, sophisticated take on trip hop that captivated listeners in the mid-2000s. Drawing inspiration from jazz, lounge, and electronica, their debut album The Mating Game  showcased their ability to craft intoxicating, melody-driven compositions that resonate with fans of the genre. Though their time as a duo was brief, Bitter:Sweet's unique sound left a lasting impression on the trip hop scene and continues to be celebrated by fans and fellow musicians alike.

Rock Out To Some Of The Most Popular Songs From Bitter:Sweet   - "Dirty Laundry"   - "Drink You Sober"   - "The Mating Game"

Dive Into Bitter:Sweet's History With Some Unique Deep Cuts   - "Heaven"   - "Don't Forget to Breathe"

Little Dragon

Swedish band Little Dragon, fronted by the dynamic vocalist Yukimi Nagano, brings a fresh, genre-defying approach to trip hop, blending influences from electronica, R&B, and synth-pop. With acclaimed albums like Ritual Union  under their belt, the band has captivated audiences worldwide with their unique sound and electrifying live performances. As Little Dragon continues to push the boundaries of trip hop and explore new sonic territories, they remain an exciting and essential act within the genre.

Rock Out To Some Of The Most Popular Songs From Little Dragon   - "Ritual Union"   - "Twice"   - "High"

Dive Into Little Dragon's History With Some Unique Deep Cuts   - "Blinking Pigs"   - "Feather"

Paul D. Miller, better known as DJ Spooky That Subliminal Kid, has been an innovative force in trip hop since the early '90s, combining elements of hip-hop, electronica, and experimental music to create a unique and mind-expanding sound. Often incorporating sociopolitical themes and multimedia elements into his work, DJ Spooky challenges the boundaries of the genre and encourages listeners to question their assumptions about music and culture. Through his recordings, performances, and collaborations, DJ Spooky remains a vital and thought-provoking presence within the world of trip hop.

Rock Out To Some Of The Most Popular Songs From DJ Spooky   - "Object Unknown"   - "Galactic Funk"   - "Synchronic Disjecta"

Dive Into DJ Spooky's History With Some Unique Deep Cuts   - "Peace in Zaire"   - "Polyphony of One"

Bristol-based duo Alpha, consisting of Corin Dingley and Andy Jenks, emerged as part of the trip hop scene in the mid-'90s, crafting lush soundscapes that blend elements of jazz, electronica, and pop. Their debut album Come from Heaven  showcased their ability to create atmospheric tunes with haunting melodies and intricate production. Over the years, Alpha's sound has continued to evolve, further solidifying their status as a versatile and innovative force within the trip hop genre.

Rock Out To Some Of The Most Popular Songs From Alpha   - "South"   - "Somewhere Not Here"   - "Slim"

Dive Into Alpha's History With Some Unique Deep Cuts   - "Saturn in Rain"   - "Reversal"

8mm, the creative partnership between producer Sean Beavan and vocalist Juliette Beavan, brings an intimate, seductive spin to trip hop, blending electronic soundscapes with sultry vocals and lush melodies. Their debut EP Opener  showcased their knack for crafting moody, atmospheric tunes that resonate deeply with fans of the genre. As they continue to explore the possibilities of trip hop, 8mm remains a captivating and passionate force within the scene.

Rock Out To Some Of The Most Popular Songs From 8mm   - "No Way Back"   - "Give It Up"   - "Between the Devil and Two Black Hearts"

Dive Into 8mm's History With Some Unique Deep Cuts   - "Quicksand"   - "Forever and Ever, Amen"

UK producer Tripswitch, also known as Nick Brennan, expertly merges elements of ambient, electronica, and trip hop to create lush, expansive soundscapes that transport listeners to otherworldly realms. His debut album Circuit Breaker  quickly earned him a reputation as a skilled and innovative producer within the trip hop scene. Tripswitch's continued exploration of genre boundaries and willingness to experiment with new sounds have earned him a dedicated fanbase and a lasting impact on the trip hop genre.

Rock Out To Some Of The Most Popular Songs From Tripswitch   - "Roll Your Own"   - "Indigo"   - "Cartwheel"

Dive Into Tripswitch's History With Some Unique Deep Cuts   - "Stereogram"   - "Silver"

Moth Equals

London-based producer Moth Equals has been making waves within the trip hop scene thanks to his innovative blend of electronic, ambient, and experimental sounds. With critically-acclaimed releases like Sick Puppy  under his belt, Moth Equals showcases his ability to craft immersive soundscapes that challenge listeners' preconceptions about trip hop. As an artist who continually pushes the boundaries of the genre, Moth Equals stands out as a unique and vital presence within the trip-hop community.

Rock Out To Some Of The Most Popular Songs From Moth Equals   - "Fingers"   - "Border"   - "Sneaker"

Dive Into Moth Equals' History With Some Unique Deep Cuts   - "Drowned City"   - "Escape Pod"

PTSMH / PATT SMITH

PTSMH, also known as Patt Smith, is an enigmatic and multifaceted artist whose contributions to trip hop cannot be understated. Crafting music that seamlessly combines elements of electronic, ambient, and avant-garde, PTSMH's distinctive sound and innovative approach to production have garnered widespread acclaim and respect from fans and peers alike. With a discography that spans multiple projects and pseudonyms, PTSMH remains a highly influential figure within the trip hop community.

Rock Out To Some Of The Most Popular Songs From PTSMH / PATT SMITH   - "Because the Night"   - "Dancing Barefoot"   - "Gloria"

Dive Into PTSMH / PATT SMITH's History With Some Unique Deep Cuts   - "Break It Up"   - "25th Floor"

Shana Halligan

As a founding member of trip hop duo Bitter:Sweet, Shana Halligan's sultry and emotive vocals quickly established her as a captivating presence within the genre. In her solo work, Halligan further explores the boundaries of trip hop, merging electronic, jazz, and pop influences to create evocative, genre-blurring compositions. With a diverse range of collaborations and projects under her belt, Shana Halligan continues to captivate fans and fellow musicians alike, solidifying her status as an enduring and influential figure within the trip hop community.

Rock Out To Some Of The Most Popular Songs From Shana Halligan   - "True Love"   - "Get Gone"   - "Been Waiting"

Dive Into Shana Halligan's History With Some Unique Deep Cuts   - "Freak"   - "Always Forever Now"

London-based duo A.R. Kane, comprised of Alex Ayuli and Rudy Tambala, emerged in the late '80s, bringing an innovative blend of shoegaze, dream-pop, and trip-hop to the musical landscape. Often cited as pioneers within the genre, the duo's seminal albums 69  and i  showcased their ability to craft immersive, genre-defying soundscapes that still resonate with fans today. Despite their relatively brief career, A.R. Kane's influence on the trip hop genre remains evident, inspiring countless artists with their trailblazing approach to music-making.

Rock Out To Some Of The Most Popular Songs From A.R. Kane   - "Lollita"   - "A Love from Outer Space"   - "Up"

Dive Into A.R. Kane's History With Some Unique Deep Cuts   - "Miles Apart"   - "Crack Up"

New York-based duo Mudville, consisting of vocalist Marilyn Carino and producer Ben Rubin, brought a dark and seductive edge to the trip hop scene with their captivating fusion of soul, jazz, and electronic influences. Their hauntingly atmospheric debut album The Glory of Man is Not in Vogue  showcased their impressive songwriting prowess and Carino's sultry, evocative vocals. Though Mudville's output has been relatively sparse over the years, their unique and intoxicating approach to trip-hop has earned them a dedicated following and a lasting impact within the genre.

Rock Out To Some Of The Most Popular Songs From Mudville   - "Wicked"   - "Blown"   - "Eternity"

Dive Into Mudville's History With Some Unique Deep Cuts   - "The Hero of the World"   - "Nothing"

Bene Dico, the enigmatic producer behind a slew of eclectic, genre-defying trip hop releases, has made a name for himself with his innovative approach to music-making. Blending elements of electronic, hip-hop, and experimental sounds, Bene Dico's immersive compositions push the boundaries of trip hop, making him a vital force within the genre. With a discography that spans multiple projects and pseudonyms, Bene Dico remains an influential figure within the trip hop community.

Scottish producer and musician Howie B, born Howard Bernstein, has left an indelible mark on the trip hop scene with his acclaimed work both as a solo artist and as a collaborator with acts like U2, Björk, and Tricky. With his groundbreaking debut album Music for Babies , Howie B showcased his innovative production techniques and an innate ability to craft atmospheric, genre-blending soundscapes. Over the years, his diverse range of projects and continued dedication to pushing the boundaries of trip hop have cemented Howie B's status as a vital and influential figure within the genre.

Rock Out To Some Of The Most Popular Songs From Howie B   - "Take Your Partner by the Hand"   - "Switch"   - "Who's Got the Bacon"

Dive Into Howie B's History With Some Unique Deep Cuts   - "Baby Sweetcorn (Come Here)"   - "Music for Money"

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Like it or not, trip-hop is a thing. I say this as someone who, for the past 18 odd years, has loved the music just as much as I’ve hated the term.

Coined in June 1994 by Andy Pemberton in a feature for Mixmag , trip-hop was used to describe the recent stylistic shift of the Mo’ Wax label and that music’s popularity in dance circles, particularly in after hours sessions. Pemberton heralded trip-hop as a psychedelic take on hip-hop and the first valid alternative to America’s dominance of the music.

The DNA of trip-hop was more complex than its reduction to bite-sized adjectives. 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. In 1998, The New York Times retconned Massive Attack’s debut album Blue Lines as the so-called genre’s inception point.

On the ground, the sound did resonate in a genuine way among a new generation of musicians seeking freedom to experiment. In London, Ninja Tune played yin to Mo’ Wax’s yang. 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. In Austria, Kruder & Dorfmeister added an extra layer of dub and turned trip-hop into downbeat in a haze of weed paranoia. In New York City, a loosely linked group of artists, thinkers and musicians spread from downtown Manhattan to Brooklyn’s cheap warehouses to imagine their own version of the sound, which The Wire magazine dubbed illbient. No matter the names or the execution, the DNA was the same.

It was always going to end badly. Mo’ Wax, often seen as responsible for the sound, originally kicked off riding the acid-jazz wave, a sound that soon exhausted itself into a creative cul-de-sac. By the late 1990s, 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 1990s), trip-hop presaged the beat scene of the late 2000s, a continuation of the ideas and aesthetic it first articulated. When I spoke to Daddy Kev in 2012, he pointed to Mo’ Wax as one of the key influences for Low End Theory. Flying Lotus has cited DJ Krush as an influence. And tastemakers like Gilles Peterson have championed the music’s evolution across decades.

https://www.traditionrolex.com/21 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. As DJ Food’s Strictly Kev put it recently, at its best the music was “psychedelic beat collages, usually instrumental, embracing samples, analogue electronics and dub FX.” The list is contained to the 1990s for historical accuracy and tries to steer away from the music’s strongholds to show the width and breadth of the sound. As such, you’ll find artists from France, Northern Ireland, Japan, America, Denmark and Brazil represented as well as releases from Asphodel, Wordsound, Rephlex, Warp and a handful of majors. It’s also worth noting that when an artist had multiple worthy albums (for instance, Portishead or Massive Attack), we only included their most definitive moment.

Listen to the whole list as a playlist via YouTube  or   Spotify .

50. London Funk Allstars London Funk Volume 1 (Ninja Tune, 1995)

London Funk Allstars’ Ninja Tune debut will likely sound dated to most who come across it for the first time today. And yet, amid the simple breakbeats, classic loops and obvious vocal chops there’s a real beauty that captures the essence of a simpler time when the possibilities seemed endless and technology was providing new ways to think about music.

49. Bomb The Bass Clear (4th & Broadway, 1994)

Tim Simenon might not be the most obvious pick for a trip-hop list, but Clear exhibits plenty of the genre’s hallmarks. Tossing away the rave collage aesthetic that had made ‘Beat Dis’ such a massive success, Simenon weaves an ambitious narrative, tying together dub and hip-hop-influenced tracks with heady spoken-word clips from writers Benjamin Zephaniah and Will Self. There are also notable contributions from influential figures such as Leslie Winer (if you haven’t heard her 1993 album Witch , you should seek it out immediately), Bernard Fowler and Bim Sherman, opening up a dialogue between New York, Jamaica and the UK that would remain at the center of the genre for years to come.

48. Slicker Confidence in Duber (Hefty, 1998)

John Hughes’s Chicago-based Hefty imprint was crucial in cementing the relationship between Chicago’s burgeoning post-rock scene (led by Tortoise) and the seemingly more experimental (and more European) IDM and trip-hop genres. This union would reach its peak in 2001 with Telefon Tel Aviv’s massive Fahrenheit Fair Enough , but a few years prior, Hughes himself was making similar strides under his Slicker moniker. Confidence in Duber sits firmly alongside Scott Herren’s early Delarosa & Asora experiments, snatching the breaks ‘n’ blunts from trip-hop and injecting them with digital belches cribbed from the IDM playbook. Oddly enough, it’s aged better than you might expect, and is well worthy of re-investigation.

47. Meat Beat Manifesto Subliminal Sandwich (Interscope, 1996)

Subliminal Sandwich is Meat Beat Manifesto’s fourth album and their first on a major label via Nothing Records, a subsidiary of Interscope helmed by Trent Reznor that was intended to capitalise on the success of Nine Inch Nails. 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. Split across two CDs, it’s the first half that’s of most interest here as the rest focused on drone and ambient compositions. The 18 tracks draw heavily on samples and breaks combined with pulsing basslines, heavily processed vocals and an overall gritty finish that makes it sound like the bastard child of Mo’ Wax and Bill Laswell’s Axiom Records.

46. 9 Lazy 9 Paradise Blown (Ninja Tune, 1994)

Early Ninja Tune beatmakers 9 Lazy 9 might not sound as crucial now as they did back in the mid 1990s, but there’s still fun to be had on Paradise Blown , their second album. The Italy-based group (including Funki Porcini’s James Braddell) added a distinctly light-hearted lounge quality to a genre that could often dwell in the darker crevices, and as such  Paradise Blown can be filed alongside offerings from Tim ‘Love’ Lee and Tipsy, even if it’s not anywhere near as endearingly experimental.

45. UNKLE Psyence Fiction (Mo’ Wax, 1998)

Mo’ Wax boss James Lavelle’s pet project, UNKLE, remains a controversial part of the trip-hop canon. With distance, Psyence Fiction is possibly more enjoyable than it was back in 1998, and it highlights the genre’s crossover potential with guest spots from Radiohead’s Thom Yorke, The Verve’s Richard Ashcroft (then riding high after the success of ‘Bitter Sweet Symphony’) and Badly Drawn Boy, but it’s hard not to see it as a slightly cynical marketing exercise. DJ Shadow, who was drafted to co-write the album, was quick to speak out about his unhappiness with both the process and the result, but Psyence Fiction is representative of a time and place, and shows trip-hop’s promise as it was being co-opted and transformed into something that labels could whitewash and monetize. Zero 7 was just around the corner.

44. Tipsy Trip Tease – The Seductive Sounds of Tipsy (Asphodel, 1996)

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.

43. Justin Warfield Field Trip To Planet 9 (Qwest, 1993)

Released a year before the term trip-hop was coined in Mixmag , Justin Warfield’s first and only solo album is included here largely thanks to Strictly Kev, who recently pointed out its relevance  with regard to the music’s supposed psychedelic properties. My Field Trip To Planet 9 is a rap album, cut from the same cloth as Check Your Head -era Beastie Boys and Digable Planets. But remove its vocals and behold music that sounds like it wouldn’t be out of place on Mo’ Wax or Ninja Tune a few years later. At its best, trip-hop was music for b-boys on acid, as Warfield sang on the album’s single. A year later, he provided the vocals for Bomb The Bass’s ‘Bug Powder Dust’, another bonafide rap-on-acid classic that got the trip-hop treatment via Paris’s La Funk Mob and Vienna’s Kruder & Dorfmeister.

42. Smith & Mighty Bass Is Maternal (More Rockers/!K7, 1995)

You can’t have a conversation about trip-hop without mentioning Bristol, and you can’t talk about the Bristol scene without giving a nod to Smith & Mighty. 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. Without them, Portishead, Tricky and Massive Attack simply wouldn’t sound the same. 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. It’s not always successful, but to ignore it is to disregard an important chapter in British musical history.

41. DJ Vadim U.S.S.R Repertoire (The Theory of Verticality) (Ninja Tune, 1996)

The first of Vadim’s four albums for Ninja Tune, U.S.S.R Repertoire is a weeded-out take on an American musical form by a Russian immigrant living in the English capital – an instrumental microcosm of hip-hop’s globalisation. Beneath a layer of simplicity, there is depth to Vadim’s approach; the beats feel expansive, the music inviting the listener to cradle in the grooves of the breaks and warmth of the bass. Much of this debut also acts as an echo of what Wordsound and We™ were doing across the ocean at the same time. As Vadim’s 1995 debut on his own Jazz Fudge imprint proclaimed, heads weren’t ready.

40. Funki Porcini Hed Phone Sex (Ninja Tune, 1995)

After a decade penning film and TV music in Italy, British producer James Braddell decided to head to London and set up his own studio, where he would use some of his commercial writing tricks to come up with Funki Porcini, one of the most recognizable names on Ninja Tune’s early roster. This was trip-hop with a side helping of very English humour, from the moniker itself to the record’s awkwardly suggestive cover. 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.

39. Red Snapper Prince Blimey (Warp, 1996)

If the elephant in the room here is acid jazz, Red Snapper are one of the rare acts who addressed it head-on. Prince Blimey is their first full-length and is certainly more overtly jazzy than most of the records we’ve highlighted on this list. That’s not a negative though, the trio – a bassist, guitarist and drummer – had genuine chops, and managed to inject their musical training into a more contemporary mode, touching on trip-hop and drum & bass without ever sounding forced. It’s a concoction that might now sound too close to the coffee table dreck that sat next to a copy of American Psycho and a rolled up tenner at the close of the millennium, but Red Snapper managed, somehow, to keep things edgy and unusual. They even, somewhat inexplicably, ended up touring with The Prodigy.

38. Various Artists DJ Kicks: Kruder & Dorfmeister (!K7, 1996)

Despite becoming the figureheads of Austria’s downbeat scene (a continental take on trip-hop), Viennese duo Kruder & Dorfmeister never released an album. Instead it was through their debut EP, G-Stoned , and absurdly popular mix CDs that they accrued fame. Their 1996 contribution to !K7’s DJ-Kicks series captured the sweet spot between the blunted grooves of chill-out rooms and the rolling breaks of jungle, an approach they’d refine two years later on The K&D Sessions . K&D’s arrival on the scene came at a time when trip-hop had started to resemble a safe version of hip-hop for those seeking thrills without effort, and their mixes remain as close as you can get to the bland, coffee table take on the genre without feeling too sick.

37. Wagon Christ Throbbing Pouch (Rising High Records, 1994)

With releases under a variety of aliases on seminal labels like Ninja Tune, Mo’ Wax, Planet Mu and Rephlex throughout the 1990s, Luke Vibert is one of the artists that best connects the dots between the various styles and ideas that fed into trip-hop. 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. Or as Select put it at the time, “the missing link between Aphex Twin and Mo’ Wax.”

36. Tim ‘Love’ Lee Confessions of a Selector (Tummy Touch, 1997)

As boss of the Tummy Touch label, Tim ‘Love’ Lee had an important part to play in the development of downbeat and trip-hop, not least thanks to his discovery of future genre stars Groove Armada, but the less said about that the better. Confessions of a Selector might be his finest achievement, not quite reaching fully into the trip-hop cookie jar, instead relying on Lee’s estimable crate digging expertise. The hallmarks of the genre are there, but prettied up with luscious tropical vistas and an eccentric (but smart) cut-and-paste quality that isn’t a million miles from US duo Tipsy.

35. Psychonauts Time Machine (Mo’ Wax, 1998)

Psychonauts were Mo’ Wax’s secret weapon, so much so that James Lavelle had them provide mixes under his name – ghost mixed, if you will. Time Machine was his payment for services rendered, and it’s a fine document of the era, not only rounding up some of Mo’ Wax’s finest moments, but also showing just how important turntablism and truly creative mixing was to the scene’s development. Most songs don’t get more than a minute of air time as the duo power through almost 50 tracks in half an hour, blending together cuts from genre luminaries DJ Krush, Luke Vibert, DJ Shadow, La Funk Mob and more. If you need a quick-to-digest taster of the genre, this is as good as it gets.

34. Prince Paul Psychoanalysis (What Is It?) (Wordsound, 1996)

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: it was originally released by Wordsound, a label most associated (wrongly or not) with illbient, NYC’s answer to trip-hop; it’s a rare example of a fully instrumental hip-hop album from a city that, in the 1990s, had no time for anything that didn’t have rappers on it (Skiz Fernando Jr., who ran the label, recounted stories of Fat Beats refusing to stock the album at the time); and it’s basically 15 tracks of Prince Paul taking his whole skit philosophy to its most absurd conclusion. For all these reasons and more, Psychoanalysis remains a slept-on classic from the 1990s, a half-way point between trip-hop’s European roots and its infatuation with American hip-hop.

33. The Herbalizer Blow Your Headphones (Ninja Tune, 1997)

Jake Wherry and Ollie Teeba’s The Herbalizer project was a fine example of trip-hop’s most visible back-and-forth with “proper” hip-hop. They weren’t afraid to work with emcees, and on Blow Your Headphones , their second album, they found a kindred spirit in Natural Resource’s What? What?, now better known as Jean Grae. She added an important element to Wherry and Teeba’s jazz-flecked backdrops, and while it’s certainly true that many of trip-hop’s consumers were looking for a safer alternative to charged US rap, The Herbalizer walked the tightrope admirably, and were markedly more successful in bridging the genres than many of their peers, who buckled when attempting to integrate emcees.

32. The Bug Tapping the Conversation (Wordsound, 1997)

Another release that will likely raise a few eyebrows for its inclusion, The Bug’s debut album nonetheless fits within the wider idea of what trip-hop could, and should, be about. There are a few other reasons too: it was released on Wordsound; DJ Vadim provided the drum samples; and, like the best trip-hop releases of the 1990s, it was a soundtrack for life, with the listener invited to let their mind fill in the blanks. The blend of hip-hop, dub and industrial influences that would go on to characterise Martin’s work is found here at its rawest and tracks like ‘Those Tapes Are Dangerous’ show a darker side to trip-hop’s blunted potential.

31. Neotropic Mr Brubaker’s Strawberry Alarm Clock (Ntone, 1998)

Riz Maslen is often more widely associated with electronica (no doubt thanks to her early association with Future Sound of London), but her second Neotropic album Mr Brubaker’s Strawberry Alarm Clock is one of the trip-hop era’s hidden gems. 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. On top of the usual dusty breaks, Maslen lavished elements absorbed from IDM’s palette but left behind its seemingly random, artificial bent. The conversation between trip-hop and IDM was very visible in the late 90s – Plaid being the most obvious example – but Maslen avoided many of the trappings of both scenes, emerging with a record that was probably “too future” for most beatheads.

30. Various Artists Headz (A Soundtrack Of Experimental Beathead Jams.) (Mo’ Wax, 1994)

After a forgettable false start peddling iffy acid jazz, Mo’ Wax made a stylistic shift in 1994, kickstarting a four-year period that continues to resonate two decades on. The first Headz compilation is a neat 18-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: ‘Ravers Suck Our Sound’, ‘Contemplating Jazz’, ‘In Flux’, ‘The Time Has Come’. The titular beatheads may have seemed like a stoned, uncreative bunch at the time but their aesthetic has proven resilient. Alongside obvious names like DJ Shadow, La Funk Mob and R.P.M, Headz also featured Nightmares On Wax, Autechre, Howie B. and various members of Major Force.

29. Various Artists Eleven Phases (Sublime, 1998)

Eleven Phases is a true gem, a little-known compilation of downtempo and instrumental tracks from many of Detroit’s finest techno artists including Robert Hood, Kenny Larkin, Eddie Fowlkes and Anthony Shakir. Originally released in Japan only, the compilation makes for a fascinating snapshot of the hip-hop roots and leanings of the city’s dance music pioneers. Will Web’s ‘Cosmic Kung-Fu Funk’ slows down techno’s rawness to a blunted, hip-hop-influenced slouch while Robert Hood’s ‘Mystique’ wouldn’t be out of place on a !K7 compilation. Despite emerging entirely outside of the 1990s trip-hop world, Eleven Phases shows how the core ideas and principles of the aesthetic bled into various scenes and cities throughout the decade.

28. Solex Solex vs. Hitmeister (Matador, 1998)

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. Elisabeth Esselink’s debut album was hard to categorize when it landed in 1998, there were elements pilfered from plenty of genres but not really enough of one or the other for categorization. Not only this, but Solex vs. Hitmeister emerged on the Matador label, then best known for releasing indie records. It was certainly aimed at a different crowd from the usual green-thumbed beatheads with a complete collection of Mo’ Wax 12″s and a line of Gundam figurines on their desk, and that was a good thing. Esselink was a breath of fresh air, and Solex vs. Hitmeister ‘s peculiar charms still resonate as she tangles her voice through hiccuping collages of unwieldy samples and collapsing drum machine loops.

27. Various Artists Funkjazztical Tricknology (Ninja Tune, 1995)

Released in 1995, the first Ninja Tune compilation arrived between the two Headz volumes from Mo’ Wax, providing a perfect counterpoint that showed how similar yet different the London powerhouses were at the time. Focused largely on early Ninja artists such as 9 Lazy 9, The Herbaliser, Coldcut and DJ Food, it also features appearance from Austria’s downbeat kings Kruder & Dorfmeister and Attica Blues, who had just joined Mo’ Wax. As with the first Headz volume, Funkjazztical Tricknology also marked the beginning of a shift for Ninja Tune with its releases becoming essential not just for the music but also their design, packaging and words of in-house scribe Shane Solanki, who invented the Ninjaspeak that played into the label’s growing mythos.

26. DJ Food Recipe For Disaster (New Breed, 1995)

No other artist embodies Ninja Tune quite like DJ Food, the multifaceted DJ project set up in the early days of the label by its founders, Coldcut. As its name implies, DJ Food was set up to provide DJs with the necessary ingredients to do their thing. For the first five years, the collective – Coldcut, Strictly Kev and PC – released loops and other tools via the Jazz Brakes series, some of which is great, while some is just as forgettable as the more tepid early Mo’ Wax releases. In 1995, DJ Food went for a meatier offering with their debut album, A Recipe For Disaster . 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.

25. DJ Krush & Toshinori Kondo Ki Oku (Apollo, 1996)

The collision of avant-garde jazz and trip-hop was bound to happen. Experimental players throughout the world were desperate to open up a conversation with younger producers, and trip-hop (as well as drum & bass) was an obvious crash-pad, considering its liberal pilfering of the genre via sampling. Ki Oku is one of the best examples of this collision, despite trumpeter Toshinori Kondo turning in a surprisingly straightforward performance throughout. (This is a musician who had gone head to head with Peter Brötzmann and John Zorn – we weren’t exactly expecting him to toot out a cover of Bob Marley’s ‘Sun Is Shining’.) But it works. 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.

24. We™ As Is. (Asphodel, 1997)

We™ formed by accident in the early 1990s after DJ Olive had been asked to contribute a track to Wordsound’s Certified Dope Vol.1 compilation for which he roped in fellow Brooklyn musicians Lloop and Once11. In the following years the trio became one of the emblematic acts of New York’s short-lived illbient scene, drunk off the possibilities afforded by the experiments that drove their creative ecosystem, where ambient, dub and hip-hop floated freely in a haze of smoke between cheap Brooklyn lofts and downtown squats. Their 1997 debut for Asphodel is a blistering run through hip-hop instrumentals, ambient lulls and drum & bass exercises that highlight the music’s chill-out roots and breakbeat fetish.

23. Amon Tobin Bricolage (Ninja Tune, 1997)

Known for his virtuoso sound design and increasingly complicated A/V shows, Brazilian producer Amon Tobin might seem like an odd addition to a list of trip-hop albums, but bear with us. 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. Tobin provided a more precise (and, let’s be honest, less stoned) take on the trip-hop sound, absorbing drum & bass and IDM influences without batting an eyelid. 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.

22. Third Eye Foundation Semtex (Linda’s Strange Vacation, 1996)

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. Elliott’s Third Eye Foundation debut fused breaks and booming sub bass with sounds more common to shoegaze: endless reverb, screaming and grizzled distortion. Traces of drum & bass (which would emerge more clearly on Elliott’s follow-up album Ghost ) slipped in-and-out of focus, and Semtex doesn’t really feel like part of one movement or another, rather adjacent and dizzy from ether and cheap draw. If anyone tries to tell you Bristol was just Portishead, Tricky and Roni Size, play ’em this burner.

21. Attica Blues Attica Blues (Mo’ Wax, 1997)

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. A trio composed of producers Charlie Dark (then D’Afro) and Tony Nwachukwu (of CD-R fame) alongside singer Roba El-Essawy, Attica Blues made jazz-influenced hip-hop that happened to have a woman singing on it instead of emcees rapping. In the 1990s, thanks to genre purism, that meant your shit wasn’t rap and therefore wasn’t hip-hop. Attica Blues is one of Mo’ Wax’s better and more slept-on full lengths, a deft exercise in sampling, programming and arranging, back when doing so took more than a few clicks of a mouse.

The best trip-hop owed plenty both to the art of mixing and the cut-and-paste aesthetic of the 1980s, 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. Krush was Mo’ Wax’s Japanese weapon, and Coldcut and DJ Food were Ninja’s own zen masters of audio collage. The result is a still-classic double CD with the London boys arguably edging it thanks to a wide selection and craftsmanship reminiscent of their acclaimed Journeys By DJ entry; DJ Krush goes for the mind, limiting his selections to only six of Ninja Tune’s artists and slicing the cuts up in his trademark less-is-more approach.

19. Depth Charge 9 Deadly Venoms (Vinyl Solution, 1994)

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. This was the blueprint for the Mo’ Wax 12″s to come: music based around the kind of nerd fandom that in 1994 was still a counter-culture. It still plays like an authentic labour of love for Jonathan Saul Kane, as he blends chops from The Evil Dead and Dirty Harry with collapsing breaks and ominous textures – it’s hardly surprising that the producer ended up establishing a company to issue UK versions of Hong Kong action movies.

18. Nearly God Nearly God (Island, 1996)

Described by Tricky as “a collection of brilliant, incomplete demos,” Nearly God is a bright, often-forgotten reminder of just how unmatched Tricky was in the 1990s. He called the record Nearly God , for fuck’s sake, and that wasn’t far from the truth. The album acted as a stop-gap between Tricky’s genre-defining Maxinquaye  and his difficult (but almost equally brilliant) about-turn, Pre-Millenium Tension . It stands apart simply because of its scope – there are appearances from regular collaborator Martina Topley-Bird, but also tracks with Alison Moyet, Björk, Siouxsie and the Banshees and Terry Hall. What sounds like it could have been a self-indulgent victory lap for (back then) one of the UK’s most notorious stars is somehow a coherent, exemplary document of a peculiar time in British music. Tricky also has to be commended for having the good sense to veto a collaboration with Damon Albarn (and then Suggs) which could have easily been the straw that broke the camel’s back.

17. Skylab #2: 1999 “Large As Life And Twice As Natural” (Eye Q , 1999)

Skylab was a short-lived collective composed of Matt Ducasse, Howie B and the Japanese duo of Tosh and Kudo, aka Love TKO from Major Force. They released two albums on Sven Vath’s Eye Q label before disappearing, and their work was among the better but lesser-known of the trip-hop era. Ducasse has gone on record to state that their attachment with the genre was unintentional and that he saw their work as “more expansive, […] more in common with collage music […] or soundtracks.” And yet, those ideas were also at the heart of what the best trip-hop could be. 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. Howie B had left by this point, and vocalist Debbie Sanders joined the trio to craft a beautiful record which really goes out there and was praised by both critics and knowledgeable fans.

16. Laika Silver Apples of the Moon (Too Pure, 1994)

Emerging from post-rock band Moonshake, Laika orbited the trip-hop genre without succumbing to many of its less flattering trappings. When guitarist and vocalist Margaret Fiedler commented in 1995 that her band was “just like trip-hop, but much much faster,” she was doing herself a massive disservice. 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.

15. Nightmares on Wax Smokers Delight (Warp, 1995)

Few records from this era quite capture the nexus of styles that trip-hop could represent at its best than Nightmares On Wax’s second album for Warp. Pulling from the same influences that defined the late 1980s rave explosion, Smokers Delight reconfigured the UK’s summer of love for the Discman generation while remaining just as suited to chill-out room comedowns or Ibiza sunset sessions.

14. REQ One (Skint, 1997)

Sure, Skint might still be best known for breaking Fatboy Slim, but don’t turn away just yet. Brighton-based producer (and sometime graf writer) REQ offered up one of the most blunted takes on the genre, almost by accident. His compositions didn’t pander to the popularity of the growing trip-hop scene, instead dwelling in a noisy, near-ambient back room. He made hip-hop instrumentals that sounded like they were being beamed in from a parallel universe via 14.4kbps modem, and in doing so, avoided being both pigeonholed and, well, popular. His brilliant debut album One has barely dated, fitting as well alongside DJ Spooky or even Dälek as it does anything the Bristol scene had to offer. One sounds, at times, like an MPC tumbling down a distant stairwell into a muddy lake, and we couldn’t think of a better recommendation than that.

13. Crooklyn Dub Consortium Certified Dope Vol.1 (Wordsound, 1995)

Skiz Fernando Jr.’s Wordsound label was in many ways the dubbed-out New York answer to Mo’ Wax, a home for what its founder coined dub-hop: music that blended the dusty boom bap that ruled the city at the time with the mixing desk mysticism of Jamaican dub. Certified Dope Vol.1 was Fernando’s attempt at cataloguing the music of like-minded artists who populated the Greenpoint and Williamsburg neighbourhoods in the early 1990s, including the likes of We™, Dr. Israel and Bill Laswell. Swinging like a pendulum between full-on dub and head-nod instrumentals, the compilation was one of the first to highlight the parallels between hip-hop’s sampling aesthetic and Jamaica’s dub.

12. DJ Krush Meiso (Mo’ Wax / Sony, 1995)

I imagine that choosing a favourite DJ Krush album is a little like asking parents to pick their favourite kid. A perfectionist who infused an American cultural import with the meticulousness of his own culture, the Japanese producer was the Far East’s answer to DJ Shadow, and together they would become Mo’ Wax’s flagship artists. 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. The addition of CL Smooth, The Roots’ Black Thought and Malik B as well as Big Shug and Guru showed that trip-hop’s instrumental aesthetic could also provide the backdrop for some fine rap moments.

11. David Holmes Let’s Get Killed (Go! Beat, 1997)

For his second album, Belfast’s David Holmes walked around New York on acid recording voices and sounds. The results were weaved into the music for Let’s Get Killed which, like his 1995 debut, acts as a sort of soundtrack for an imaginary movie. The process also resulted in one of the best albums of the era – a psychedelic collage of rhythms, textures and styles that jumps between hip-hop, dub and dance music and rests on the back of Holmes’ urban trip.  Let’s Get Killed  has aged gracefully and still sounds just as engrossing as it did nearly 20 years ago.

10. DJ Spooky Songs of a Dead Dreamer (Asphodel, 1996)

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 1996. Hobbled at the time by the “illbient” tag, Spooky had come to the same conclusions as many of his European contemporaries: that a blend of hip-hop rhythms, dub bass and ambient soundscapes sounded pretty damn inspiring. Songs of a Dead Dreamer is his crowning achievement, and while its construction is relatively simple – loops fed through Spooky’s desk and piped through various effects – the effect is hypnotic and beguiling. 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.

9. DJ Cam Abstract Manifesto (P-Vine, 1996)

Soon after his debut in 1994, Paris’s DJ Cam positioned himself as the European equivalent to DJ Krush and DJ Shadow – a hip-hop enthusiast capable of weaving together abstract, blunted beats with finesse. Within a few years, he’d parlayed his underground kudos for an attempt at more standard rap fare. 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. ‘No Competition’ remains one of his best compositions to date, and a staple of sets from the era.

8. Major Force West 93-97 (Mo’ Wax, 1999)

It’s testament to the power of the ideas underpinning trip-hop at the time that this list includes an album spearheaded by a Japanese pop musician who had a hand in the new wave movement. Major Force was the name of Toshio Nakanishi’s hip-hop project, originally conceived in 1988 after a near-decade long infatuation with the music. Comprised of Nakanishi and former Melon bandmates Gota Yashiki and Masayuki Kudo, Major Force released new material as well as an anthology titled The Original Art-Form on Mo’ Wax in the mid-to-late 1990s. The latter is well worth your time, featuring early work and collaborations with Bristol’s DJ Milo, another link in the global thread that supported the music’s most daring leaps. In a 2014 interview, Nakanishi admitted that his fascination with hip-hop stemmed from recognising its links with Burroughs’ cut-ups, stating that “in collage, something happens where you never expected it to.”

93-97 compiles the group’s work during their years living in London, hence the twist to their name. It’s a brilliant and bizarre collection of ideas from a culturally out-of-place trio, who got it because they were so far from the “it” everyone was talking about. In those same years, Nakanishi and Kudo also worked as part of Skylab and you can hear similarities in this collection with the latter’s #1 debut album, especially in how the best of it isn’t the downtempo beats but the drawn-out compositions which have the feel of improvised studio jams. Later on in his interview, Nakanishi points out that London, at the time, felt as psychedelic as the 1960s, with the group seeking to inject some of this spirit into hip-hop, which in England was called trip-hop.

7. Various Artists Headz 2 (Mo’ Wax, 1996)

Just as the first Headz marked Mo’ Wax’s ascendance, the second compilation crowned its achievements and enshrined its best-known artists in an expansive collection of 53 tracks. 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. That means music from the Beastie Boys, UNKLE, Money Mark, The Black Dog, Dillinja, DJ Shadow, Danny Breaks, Tortoise and Urban Tribe among many. Headz 2 is also testament to James Lavelle’s impeccable A&R skills, and his talent for making sense of the various 1990s post-rave threads that informed the music.

6. Leila Like Weather (Rephlex, 1998)

Leila Arab’s debut album stuck out like a sore thumb when it appeared on Rephlex in 1998. Not because it was more extreme than Rephlex’s usual fare, but because it was actually a proper album, with songs, a narrative and little of the label’s usual tongue-in-cheek antics. 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. Not quite trip-hop and not quite illbient, it certainly wasn’t IDM either, despite an intriguing “post production” credit from a certain Richard D. James. It’s one of the most disarming records of the era, and manages to fulfil the promise of trip-hop without succumbing to its trappings. 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.

5. Luke Vibert Big Soup (Mo’ Wax, 1997)

Luke Vibert’s first record under his real name, Big Soup summed up the Mo’ Wax catalogue perfectly, even if Vibert was only casually adjacent to the scene. 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. The thing that Vibert had and which many of his peers always lacked was a sense of humour, and as track titles like ‘No Turn Unstoned’ might suggest, that helped remove some of the inherent pretentiousness of the scene, breaking down another barrier that walled it off to potential listeners. Vibert’s produced more complicated records since, and he’s produced more successful records too, but Big Soup is a perfect picture of a certain moment in time, painted with a British eccentricity that cuts through the posturing that would later derail the scene.

4. Massive Attack Blue Lines (Island, 1991)

In a 1998 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: England’s love affair with sound systems; the comedown from its own summer of love in 1989; and hip-hop’s nascent dominance and rapacious aesthetic. 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 2009, Daddy G told The Observer : “What we were trying to do was create dance music for the head, rather than the feet.” A statement of intent for trip-hop if there ever was one.

3. DJ Shadow Endtroducing (Mo’ Wax, 1996)

DJ Shadow’s first album for Mo’ Wax is the kind of debut that places the bar so high in its mastery of a new musical vocabulary that even its creator can never hope to better it, forever living beneath the weight of what he’s accomplished. 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. It’s not just the music that made hip-hop suck in 1996, it was also the critics who couldn’t conceive that albums like Endtroducing were what they claimed to be and nothing more.

2. Portishead Dummy (Go! Beat, 1994)

Portishead’s 1994 debut was soaked in the same DIY, melting pot approach that typified much of Bristol’s output at the time. From Massive Attack to Smith & Mighty and early Full Cycle releases, the city’s greatest hits in that decade were all about the blending of aesthetics with a brazen irreverence for rules. 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, 1960s movie soundtracks and traditional songwriting that laid bare the potentials afforded by sidestepping rigid genre formats.

1. Tricky Maxinquaye (Island, 1995)

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. He’d sharpened his skills as a member of Massive Attack (indeed some of his rhymes from Blue Lines were recycled here), but his solo material went far beyond his former collaborators’ scope. Tricky was pulling from a darker well, and allowed his struggles, both external and internal, to sit at the album’s epicentre. The result was some of the most tortured and original electronic music cut to wax which gave birth to an era where “weird” became fashionable.

He was assisted by his then-girlfriend Martina Topley-Bird, whose nonchalant purrs offered a foil for Tricky’s hoarse raps. She was the smooth to Tricky’s tab-addled rough, and grounded the project for many listeners, no doubt helping people to lump it in with the similarly located Portishead.

Tricky hated being labeled trip-hop (“This is not a coffee table album. I don’t think you can have dinner parties to it,” he stated in 1996) and has rallied against it ever since, but there can be no argument that, for better or for worse, he left an indelible mark on British music, electronic and otherwise. If covering Public Enemy’s racially charged ‘Black Steel in the Hour of Chaos’ and recasting Chuck D as a mixed-race female from Bristol (singing, instead of rapping) isn’t hitting the genre’s conceit squarely in the face, we’re not sure what is. “If I supposedly invented it, why not call it Tricky-hop?” he said, before releasing Pre-Millenium Tension . He wasn’t wrong.

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The 10 greatest trip-hop bands of all time

22 February 2023, 11:52

By Tom Eames

Trip-hop emerged in the 1990s as a leading force of downtempo electronic music.

Originating largely in Bristol in the early 1990s, trip-hop has been described as a psychedelic mix of hip-hop and electronica, with slower tempos and an atmospheric style. It also uses elements of jazz, soul, funk, reggae, R&B, and other genres, as well as often sampling film soundtracks and other sources.

Trip-hop was first coined by Mixmag , and it soon had commercial success by the second half of the decade.

From its pioneers of the '90s to the artists they influenced, here are the greatest trip-hop artists:

Morcheeba - Blindfold (Official Video)

Formed in the mid-1990s with singer Skye Edwards and brothers Paul and Ross Godfrey, Morcheeba emerged with sublime influences of rock, folk and downtempo, becoming a leading force in the trip-hop movement, starting with 1996's Who Can You Trust?

They have released 10 studio albums since 1995, with the latest being 2021's Blackest Blue .

Although they have moved on to other genres since their early trip-hop days, they still must be counted as one of the genre's greatest acts.

Sneaker Pimps

Sneaker Pimps - 6 Underground (Official Music Video)

Formed in Hartlepool in 1994, Sneaker Pimps' debut album, Becoming X was a seminal trip-hop LP in 1996.

Best known for the single '6 Underground', the band takes its name from an article the Beastie Boys published in their Grand Royal magazine about a man they hired to track down classic sneakers.

The band was created by electronic musician Liam Howe and guitarist Chris Corner, and then later recruited singer Kelli Ali (then known as Kelli Dayton).

After a long hiatus, the group returned with Howe and Corner in 2016, and they finally started releasing new music in 2021.

Little Dragon

Little Dragon - Twice

Swedish band Little Dragon hail from Gothenburg, having formed in 1996.

The band currently consists of singer Yukimi Nagano, Erik Bodin (drums), Fredrik Wallin (bass) and Håkan Wirenstrand (keyboards).

Their first release was the incredible single 'Twice' in 2006, and they brought out their debut album a year later.

Nagano was in her first year in high school when she met seniors Wallin and Bodin. The three of them would meet up after school to jam and play records, and their band name was inspired by the 'Little Dragon' nickname Nagano earned due to the "fuming tantrums" she used to throw while in the studio.

UNKLE - Rabbit In Your Headlights

UNKLE was founded in 1992 by James Lavelle.

In 1997, Lavelle brought in DJ Shadow to work on his debut album, which was released a year later. The album featured collaborations with the likes of Thom Yorke (Radiohead), Mark Hollis (Talk Talk), Mike D (Beastie Boys), Badly Drawn Boy and Richard Ashcroft (The Verve).

UNKLE as an outfit still exists today, though Lavelle has featured various incarnations of the collective, hiring a wide range of guest musicians and producers along the way.

His most recent studio album release with 2017's The Road: Part 1.

Martina Topley-Bird

Sandpaper Kisses

English singer and multi-instrumentalist Martina Topley-Bird first found fame when she featured on Tricky's debut album, Maxinquaye in 1995.

She also worked with him on his subsequent albums Nearly God and Pre-Millennium Tension, and then in 2003, she released her debut solo album Quixotic. The album was a critical hit and earned her a Mercury Prize nomination.

She has since worked with the likes of Gorillaz, Diplo and Massive Attack among others, and her track 'Sandpaper Kisses' has been covered Stephen Marley and sampled by The Weeknd.

Lamb - Gorecki

Electronic music duo Lamb formed in 1996 in Manchester, and consist of producer Andy Barlow and singer-songwriter Lou Rhodes. Rhodes' distinctive vocals gave them a uniquely beautiful sound, and no doubt inspired the likes of The Knife and Goldfrapp.

Their brand of trip-hop is also influenced drum and bass and jazz, and are best known for their singles 'Górecki' and 'Gabriel'.

Despite a hiatus in the 2000s, they have continued to release music, with their most recent being 2019's The Secret of Letting Go .

DJ Shadow - Midnight In A Perfect World

Speaking of DJ Shadow...

Joshua Davis is an American DJ, songwriter and record producer, known for his famous alter ego. His debut studio album, Endtroducing..... was released in 1996.

DJ Shadow's music often involves manipulating samples, bringing in rare pieces of music and sound clips, from all kinds of genres, particularly on his early albums.

His most recent LP was the double album Our Pathetic Age in 2021.

Portishead - Glory Box

Portishead - named after the place in Somerset, formed in 1991 in Bristol. Comprising of singer Beth Gibbons, producer Geoff Barrow, and musician Adrian Utley, engineer Dave McDonald is also sometimes credited as the fourth member.

• The Story of... 'Glory Box' by Portishead

Their 1994 album Dummy brought together hip-hop production with emotive vocals from Gibbons, creating a particularly atmospheric and cinematic sound. It was one of the albums that defined trip-hop as a growing genre.

Portishead themselves have disliked being associated with the genre, and would later move away from the sound on later albums.

Tricky - 'Black Steel' (Official Video)

British artist Tricky was raised in Bristol, and began his career as an early member of Massive Attack.

He soon began a solo career with his debut album, Maxinquaye , in 1995. It instantly won him huge critical acclaim, and he released four more studio albums before the end of the decade. His most recent album was 2020's Fall to Pieces .

Tricky is considered a pioneer of trip-hop, with his style known for being often dark in tone, and blending cultural influences and genres, such as hip-hop, rock and reggae.

Massive Attack

Massive Attack - Unfinished Sympathy

Trip-hop pioneers Massive Attack formed in 1988 in Bristol, led by Robert '3D' Del Naja, Adrian 'Tricky' Thaws, Andrew 'Mushroom' Vowles and Grant 'Daddy G' Marshall.

Their debut album Blue Lines was released in 1991, with the single 'Unfinished Sympathy' considered one of the greatest songs of all time, let alone trip-hop.

1998's Mezzanine - containing the classic track 'Teardrop') and 2003's 100th Window were also UK number ones.

They have won various awards of the years, and have sold over 13 million copies worldwide.

Like Portishead, they have never been a massive fan of the 'trip hop' label. Daddy G said in 2006: "We used to hate that terminology [trip-hop] so bad. You know, as far we were concerned, Massive Attack music was unique, so to put it in a box was to pigeonhole it and to say, 'Right, we know where you guys are coming from."

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Here’s Why Muni Long Thinks ‘Revenge’ Will Be the ‘R&B Album of the Year’ 

The Grammy winner also chats about working with Mariah Carey, Chris Brown and more ahead of her sophomore release.

By Gail Mitchell

Gail Mitchell

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Chris Brown

Mariah Carey

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Long had recently ended her opening act stint on Chris Brown’s  11:11  Tour, which wrapped in early August, when  Billboard  caught up with her during an airport layover. At one point in the phone interview, she said  Revenge  is going to be “the R&B album of the year.

What lessons did you learn as an opening act on your first arena tour?  

It was like a big singalong every night. I’ve done three shows on my own since Chris’ tour ended and these crowds came with the expectation of hearing great songs. They want to hear R&B music. I understand it’s not normal for a new artist to be on their first tour doing arenas, right? So I don’t take that for granted. I learned a lot: how to work the crowd; how to coexist with the audience and not be up there like I’m separate from them. It felt like a masterclass working with Chris because he’s such an incredible live performer. I only had 30 minutes. So I don’t know how he was doing it for two-and-a-half hours at the energy level he was giving, dancing and full-out singing. It was a crazy, amazing experience.

What was it like working with Mariah Carey on the “Made for Me” remix?

The fact that she even said yes was just like, wow. I grew up listening to her, Whitney [Houston] and Celine [Dion]. So not only was it an honor but I got to have my name next to hers [ laughs ]. Mariah is also an excellent vocal producer, producer and songwriter. I don’t think she gets the credit she deserves. Working with her as an artist and, prior to that a songwriter, was probably one of the most memorable, precious experiences that I’ve had in music. But working with her, she never made you feel like she’s this big personality. It was always, “I have you here because I want your essence, your vibe. I want you to do what you do.”

Now you’re in promotion mode for  Revenge . What sparked the creative direction behind this album?

How did the title track come about?

We were in the studio, and The-Dream came by just to visit. I remember looking around the room, and there’s Tricky, Kuk Harrell, Theron Thomas, The-Dream and me. There’s no way I’m about to have all these powerful people in this room and not get a song [ laughs ]. And if you’ve ever been around The-Dream, you know he loves to go back and forth. So we get to arguing about relationships, men and women and how we treat each other … what’s the angle? Somehow we get to where, at a certain point, all the tit for tat isn’t necessary: It’s I don’t even want revenge. I just want you to go on somewhere. That’s when we started writing the lyric. Actually, Dream texted what I said, went into a booth and freestyled the entire melody for the verse and chorus. He’s like, “OK, I’m done.” Then Theron and I took that and just basically wrote my story; like, this is what I’m going through right now. Because it’s so close to home I was like, “This is the title.” The best revenge is success.

In your press materials, you note the journey to this career moment took 17 years. Did you ever lose faith while pivoting from songwriter to singer-songwriter?

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Old School Hip Hop vs RnB concert set for Oct. 5

WILMINGTON, N.C. (WECT) - The Old School Hip Hop vs RnB concert featuring Chubb Rock is set for Saturday, Oct. 5, at Greenfield Lake Amphitheater.

The event is presented by On Thyme Media and will feature DJs Bigg B, Sandra (The Midday Miss) and Mike Lang.

Doors open at 5 p.m. and the show will start at 6 p.m. Recording artists and DJs will be special guests.

Tickets are available on the Live Nation website .

Copyright 2024 WECT. All rights reserved.

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