Portishead

Portishead’s Geoff Barrow Calls Out Kanye West And Ty Dolla Sign Over Unauthorized Sample Use On ‘Vultures 2’

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Geoff Barrow High-Rise BFI London Film Festival 2015 (1024x437)
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Kanye West (Ye) and Ty Dolla Sign surprised fans with their spontaneous release of their latest album, Vultures 2. But the body of work’s arrival isn’t the only thing to shock the public.

Yesterday (August 3), Portishead’s Geoff Barrow was annoyed to learned that the duo sampled the group’s song “Machine Gun” without permission. Over on X (formerly Twitter), Barrow called out the duo for featuring its revered instrumental break on the Vultures 2 track, “Field Trip,” which features Playboi Carti, Don Toliver, and Kodak Black.

“For f*ck’s sake,” he wrote. “Not again 🤷🏼‍♂️.”

Users online chimed in to encourage Barrow to take legal action.

“Dude, you need to sue the f*cker,” wrote one user.

“Jeezus, that’s not even sampling, they just used the entire song for a backing track for some sh*t karaoke. Zero creativity,” penned another.

“Now that’s just a blatant ripoff, and you deserve to be compensated,” added another.

“Make them delete the whole album 💯💯💯,” demanded another.

However, not everyone shared the same sentiments. Fans of Ye, begged Barrow not to take things to court.

“Don’t sue Ye, this song is amazing, let us have it man😭🙏🏻,” wrote one user.

“You should’ve said something after the first listening party it was previewed at bro 😭😭 we finally got the music and now you wanna take it away,” added another.

“Better to ask for forgiveness,” chimed another.

Ye has reportedly already been hit with several copyright infringement lawsuits from past projects, Donda. Even Vultures 1 was surrounded with sample clearance issues (from Donna Summer’s estate to Ozzy Osbourne). But based on Barrow’s response, this is Ye’s second time ripping off his past work. Could this be his legal breaking point?

What Is Trip Hop? Dreamy Depths Of Downtempo Grooves

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Hip Hop has spawned a number of subgenres since its inception in the 1970s. Over the years, several of these have become popular, successfully transitioning into the mainstream. Most recently, trap and drill have been in the spotlight, and may not go out of style anytime soon. While some Hip Hop’s offspring have gained mass appeal and widespread popularity, several are still largely niche. One of these is the dreamy Trip Hop subgenre. 

Also known as Downtempo or Downbeat, it is a fusion of Hip Hop and electronic elements, unlike anything that came before it. Despite not being widely popular, the enigmatic fusion has left its mark on the musical landscape since its introduction. Regardless, it certainly deserves to have the word spread about it some more. It could very possibly appeal to a much wider audience as, these days, listeners’ musical palates are much more diverse. Without much ado, let’s dive into the dreamy depths of Trip Hop.

The Origin & Pioneers Of Trip Hop

Trip Hop first emerged in the late 1980s in the Bristol music scene in the United Kingdom. It was influenced by various genres, including Hip Hop, soul, jazz, funk, and electronic music. All in all, artists sought to create a distinct, downtempo sound focusing on atmospheric textures. The Trip Hop sound was championed by many pioneering acts who propagated the psychedelic sound.

Massive Attack, a collective formed in 1988, is often credited as one of the pioneering groups in the genre. Their debut album Blue Lines (1991) blended Hip Hop beats with soulful vocals, and helped lay the foundation for Trip Hop. However, it was their third album, Mezzanine, that became an international sensation, boosting the public’s attention towards the genre. Shortly after, Portishead, another iconic Trip Hop band, released their groundbreaking album, Dummy, in 1994. Emphatically, this album further defined the genre with its haunting melodies and Beth Gibson’s emotive vocals. Tricky, a member of Massive Attack, eventually broke out to become a lauded solo act.  

What Does Trip Hop Sound Like?

Trip Hop is a genre characterized by a distinctive set of features. Collectively, these features create a moody, atmospheric, and often hypnotic sound. For example, central to the genre is its often slow, deliberate tempo. The beats are usually laid-back and syncopated, providing a relaxed and contemplative feel. 

Another key hallmark of Trip Hop is its emphasis on creating rich, immersive atmospheres. This is achieved through synthesizers, ambient sounds, and production techniques that evoke a dreamlike feeling. True to its name, Trip Hop incorporates elements from Hip Hop, such as drum breaks and the rhythmic flow of rap. However, it tends to deconstruct and slow down these elements, offering a more ambient take on Hip Hop aesthetics. 

In addition to those characteristics, many Trip Hop tracks feature sultry, soulful, or haunting vocals. Female vocalists, in particular, are prevalent, contributing to the genre’s passionate and often melancholic vibe. Notable examples include Beth Gibbons of Portishead, Shara Nelson of Massive Attack, Skye Edwards of Morcheeba, and Björk. Over the years, the genre has evolved, and new artists have emerged with different interpretations of Trip Hop. FKA Twigs is one of the more popular artists who make Trip Hop music today. Also, Lana Del Rey has been known to experiment with the genre, particularly in her 2012 album Born to Die.

Conclusion

As a genre that continues to evolve, Trip Hop remains a captivating exploration of sound. It seamlessly blends elements from various musical traditions to create a unique, diverse, and influential genre. Undoubtedly, it is among the more intriguing subgenres of Hip Hop, and is one of the most substantial. While it may be over three decades old, there’s still much more Trip Hop has to offer. As it is a genre that embraces experimentation, it will continue to break the ceiling, transform, and diversify.

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