Quote:
Originally Posted by sidewinder
There are really two schools of thought when it comes to trip-hop. One is the Bristol-based stuff like Massive Attack and Portishead (that I'm not all that familiar with), and the other is a warmer feeling combination of electronic and hip-hop, or for lack of better words, instrumental hip-hop. I'm more into the later, and personally identify it producer-based hip-hop (often glitchy and IDM-influenced) that occasionally has guest hip-hop vocals or vocal samples. DJ Shadow, Prefuse 73, DJ Vadim, and the legions of artists that came after that. There was always glitch involved in the genre, at least in the second school I mentioned, but the term glitch-hop came about (talking of Flying Lotus, edIT, etc) as the glitches came more into focus rather than just being a detail of the sound. To me it's still trip-hop, as it was always there.
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I am quite the opposite, since I am familiar with the Bristol-based version of "trip hop" rather than its "instrumental trip hop" counterpart in the United States. I am not too sure that Massive Attack, for example (although certainly not Portishead), doesn't evidence a "warmer" combination of electronica and hip-hop: "Unfinished Sympathy" would be an example of just such a combination.
Still, I think that Flying Lotus's "Los Angeles" is, in certain respects, highly indebted to Massive Attack. In fact, a few of the tracks could have come straight off a mid-nineties Massive Attack album like Protection, especially in terms of its "dub" effects (although it must be said that Flying Lotus's work is somewhat more up-tempo than the majority of MA's work).