Such a strange concoction of sounds, yet with the ever present drum clap and that subtle cementing baseline, the noises weave and twist their way into a perplexing journey of sound.
Yet on the same song, we have record scratches and horns probing its way to your eardrum. One Love samples Issac Hayes’ symphonic strings found on Ike’s Mood, yet in the Massive Attack context they are flipped into a haunting, creeping element, one that the track simply can’t manage without. If we look at (one of my favourite albums of all time) Massive Attack’s Blue Lines, the vast amount of diversity across the duration of the LP may leave a lot of new listeners wondering what exactly trip hop is.Īgain, when focusing on Blue Lines more closely there is a plethora of distinctive sounds on near every track, let alone the entirety of the project. I’m not sure this is really an accurate representation, trip hop doesn’t really have distinctive confines that it must remain within, with an abundance of variety tumbling out of the genre with the name trip hop scrawled across it. That bit of background aside, while Wikipedia and a plethora of other websites assign particular characteristics to the genre such as having ‘influences of soul, funk and jazz’.
Both groups are from Bristol, England, and while it remains and forever will be the birthplace of one of the most elusive and critically respected genres, it is also my hometown. This was of course the gift, with the curse being that I missed out on everything else- I don’t think I’d even heard a proper rap song until I was a teenager, and genres like house, drum and bass, trip hop, indie and everything in between I simply missed out on entirely, and I’m embarrassed to say that Portishead and Massive Attack are a few of those acts I’ve missed out until the past few years- the two big pioneers of trip hop.īoth Massive Attack and Portishead are credited with near-enough single-handedly creating and popularising trip-hop. My Dad’s taste in music was about as closed off and confined as they get- nothing but rock music, mainly punk rock, leaving me with early exposure to legendary acts of The Ramones’, The Who’s, The Clash’s and The Jam’s magnitude. And Mobb Deep’s Prodigy delivers on the threat with his astonishing first verse: “Rock you in your face, stab your brain with your nose bone…” It’s the kind of thing that should get you locked up for life.As with near everyone on the planet, much of my music tastes spans from my parent’s favourite genres. However, this was both a gift and a curse, while my Mum introduced me to pop stars that could maybe fall into the oldie categories such as Simply Red, Steely Dan etc. It’s the sound of a looming threat that could exist in any era. II” so timeless is that it’s also somewhat generic.
II,” Mobb Deep’s Havoc combined three equally mercurial jazz samples: Herbie Hancock’s “Jessica,” “Daly-Wilson Big Band’s “Dirty Feet” and Quincy Jones “Kitty With The Bent Frame.” The songs are so obscure (at least to hip hop fans), their presence in the track remained somewhat of a mystery for a decade and a half. II.” That slow drum beat and those sirens seemingly ripped out of a horror film. There’s something immediately terrifying about “Shook Ones, Pt.
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