MoвЂ™ 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. No matter the names or the execution, the DNA was the same. In New York City, a loosely linked group of artists, thinkers and musicians spread from downtown Manhattan to BrooklynвЂ™s cheap warehouses to imagine their own version of the sound, which The Wire magazine dubbed illbient. In Austria, Kruder & Dorfmeister added an extra layer of dub and turned trip-hop into downbeat in a haze of weed paranoia. In Paris, DJ Cam pushed out his own blunted beats to eager continental heads. Both labels crafted a unique visual dimension and assembled expansive rosters. In London, Ninja Tune played yin to MoвЂ™ WaxвЂ™s yang. On the ground, the sound did resonate in a genuine way among a new generation of musicians seeking freedom to experiment. In 1998, The New York Times retconned Massive AttackвЂ™s debut album Blue Lines as the so-called genreвЂ™s inception point. Most notably, it became a byword for the Bristol sound epitomised by bands like Massive Attack and Portishead. 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. 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. 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. 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.

The DNA ofВ trip-hopВ was more complex than its reduction to bite-sized adjectives. Pemberton heralded trip-hop as a psychedelic take on hip-hop and the first valid alternative to AmericaвЂ™s dominance of the music. I say this as someone who, for the past 18 odd years, has loved the music just as much as IвЂ™ve hated the term.Д¬oined in June 1994 by Andy Pemberton in a feature for Mixmag, trip-hopВ was used to describe the recent stylistic shift of the MoвЂ™ Wax label and that musicвЂ™s popularity in dance circles, particularly in after hours sessions.

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