Experimental Hip Hop

Alternative hip-hop (also known as alternative rap and experimental hip-hopSound Field, What Do They Mean When They Call Hip Hop "Alternative"?, PBS
/ref>) is a subgenre of hip-hop music that encompasses a wide range of styles that are not typically identified as mainstream. AllMusic defines it as comprising "hip-hop groups that refuse to conform to any of the traditional stereotypes of rap, such as gangsta, bass, hardcore, and party rap. Instead, they blur genres drawing equally from funk and pop/rock, as well as jazz, soul, reggae, and even folk."

Alternative hip-hop developed in the late 1980s and experienced a degree of mainstream recognition during the early to mid-1990s. While some groups such as Arrested Development and the Fugees achieved commercial success, many alternative rap acts tend to be embraced by alternative rock listeners rather than hip-hop or pop audiences. The commercial and cultural momentum was impeded by the simultaneous emergence of significantly harder-edged West Coast gangsta rap. A resurgence came about in the late 1990s and early 2000s at the dawn of the digital era with a rejuvenated interest in independent music by the general public.

During the 2000s, alternative hip-hop reattained its place within the mainstream due to the declining commercial viability of gangsta rap as well as the crossover success of artists such as Outkast and Kanye West. The alternative hip-hop movement has expanded beyond the United States to include the Somali-Canadian poet K'naan and the British artist M.I.A. Alternative hip-hop acts have attained much critical acclaim, but receive relatively little exposure through radio and other media outlets. The most prominent alternative hip-hop acts include A Tribe Called Quest, De La Soul, Hieroglyphics, the Pharcyde, Digable Planets, Death Grips and Black Sheep. During the 2010s, the development of alternative hip hop music continued with the internet era and the appearance of streaming services, with many artists taking a more "experimental" approach to hip hop music, such as ASAP Rocky, Yung Lean, Bladee, Chief Keef, Lil Uzi Vert, Playboi Carti, Lil Pump, XXXTentacion, Ski Mask the Slump God, Lil Peep, and SpaceGhostPurrp. Playboi Carti's 2020 album ''Whole Lotta Red'', for example, is marked by this approach.

History

Origin

Originating in the late 1980s, in midst of the golden age of hip-hop, alternative hip-hop was headed primarily by East Coast groups such as De La Soul, Jungle Brothers, A Tribe Called Quest, Pete Rock & CL Smooth, Brand Nubian, and Digable Planets in subsidiary conjunction by West Coast acts such as the Pharcyde, Digital Underground, Souls of Mischief, Del the Funky Homosapien, and Freestyle Fellowship as well as certain Southern acts such as Arrested Development, Goodie Mob, and Outkast. Similar to the alternative rock movement, alternative hip-hop segued into the mainstream at the dawn of the 1990s. Arrested Development, along with the Fugees, stand as some of the first few alternative rap to be recognized by mainstream audiences. The classic debut albums '' 3 Feet High and Rising'' (1989), '' People's Instinctive Travels and the Paths of Rhythm'' (1990), and '' Bizarre Ride II the Pharcyde'' (1992) achieved minor commercial success as they garnered immense acclaim from music critics, who described the records as ambitiously innovative but playful masterpieces, hailing the artists as the future of hip-hop music as a whole.

Mid to late 1990s: Mainstream decline

Contrary to alternative rock, which went on to become a mainstay in mainstream music and replaced the glam metal of the previous generation as the most popular form of rock music, alternative hip-hop's commercial momentum was impeded by the then also newly emerging, significantly harder-edged West Coast gangsta rap. With its aggressive tone, nihilistic tendencies, and violent imagery, gangsta rap was considered to be the more entertaining, more lucrative subgenre as signified by the high chart placings, radio success and multiplatinum-selling records of gangsta rappers such as Snoop Dogg, Warren G and N.W.A, who were widely embraced by major record labels and produced a legion of imitators. Albums such as '' Straight Outta Compton'' (1989), '' The Chronic'' (1992) and '' Doggystyle'' (1993) redefined the direction of hip-hop, which resulted in lyricism concerning the gangsta lifestyle becoming the driving force of sales figures.Caramanica, Jon
Review: ''Straight Outta Compton''
. ''Rolling Stone''. Retrieved July 22, 2009. The situation changed around the mid-'90s with the emergence and mainstream popularity of East Coast hardcore rap artists such as Wu-Tang Clan, Nas, the Notorious B.I.G., and Mobb Deep. Following this development, many alternative rap acts eventually either disbanded or faded into obscurity.

In his 1995 book on the current state of hip-hop culture, music critic Stephen Rodrick wrote that, at that time, alternative hip-hop had "drawn little more than barely concealed yawns from other rappers and urban audiences" and concluded that the subgenre was a failure.Rodrick; pp. 115–116

Late 1990s to 2010s: Revival

A commercial breakthrough came about in the late 1990s with the rejuvenated interest in indie music by the general public due to the mainstream success of acts like the Fugees and Arrested Development, while acts such as Slum Village, Common, and the Roots were rising to prominence.

The Fugees saw huge critical and commercial success with the release of their second album, ''The Score'', in 1996. The album peaked at number one on the US ''Billboard'' 200 chart, and briefly became the best-selling hip-hop album of all time. That same year, A Tribe Called Quest reached their commercial peak with the release of their album '' Beats, Rhymes and Life'', which reached number one on the US ''Billboard'' 200 and became their best-selling release, while acts such as Outkast and De La Soul released some of their most definitive albums with '' Atliens'' and '' Stakes Is High''.

Since the mid-1990s, independent record labels such as Rawkus Records, Rhymesayers Entertainment, Anticon, Stones Throw, Definitive Jux and QN5 have experienced lesser mainstream success with alternative rap acts such as CunninLynguists, Jurassic 5, Little Brother, Talib Kweli, MF Doom, Atmosphere, Antipop Consortium, Mos Def, Doomtree, Pharoahe Monch, El-P, Quasimoto, Living Legends, Cyne, Blue Scholars, and Aesop Rock. In the 2000s, alternative hip-hop reattained its place within the mainstream, due in part to the declining commercial viability of gangsta rap as well as the crossover success of artists such as Outkast, Kanye West, and Gnarls Barkley.

Outkast's fifth studio album, '' Speakerboxxx/The Love Below'' (2003) receive universal acclaim from music critics and had two number-one hit singles. The album won a Grammy Award for Album of the Year—making it only the second hip-hop album to win the award ('' The Miseducation of Lauryn Hill'' being the first) and has been certified diamond by selling 11 times platinum by the Recording Industry Association of America (RIAA).

MF Doom had been on the come up in the underground scene after releasing his debut studio album, '' Operation: Doomsday'' (1999). He came back to the hip-hop scene after the dissolving of group KMD. Later, he and Madlib's 2004 project '' Madvillainy'' was released in this time period as the duo Madvillain. This album was praised by music critics and inspired other artists, such as Aminé and Joey Badass.

Gnarls Barkley experienced a surprise hit with their debut single, " Crazy". Due to high download sales, it reached number one in the single charts in several countries, including the United Kingdom, where it became the best-selling single of 2006. The song was named the best song of 2006 by both ''Rolling Stone'' and the '' Village Voice'' annual Pazz & Jop critics poll. ''Rolling Stone'' later ranked "Crazy" as the number-one song of the decade. The song has been certified double platinum by RIAA. The duo were the recipient of multiple accolades; at the 49th Grammy Awards, they won the awards for Best Urban/Alternative Performance and Best Alternative Music Album.

Industry observers view the 2007 sales competition between Kanye West's ''Graduation'' and 50 Cent's ''Curtis'' as a turning point for hip-hop. West emerged the victor, selling nearly a million copies in the first week alone. Ben Detrick of '' XXL'' credited the outcome of the sales competition with altering the direction of hip-hop and paving the way for new rappers who did not follow the hardcore-gangster mold, writing, "If there was ever a watershed moment to indicate hip-hop's changing direction, it may have come when 50 Cent competed with Kanye in 2007 to see whose album would claim superior sales. 50 lost handily, and it was made clear that excellent song crafting trumped a street-life experience. Kanye led a wave of new artists—Kid Cudi, Wale, Lupe Fiasco, Kidz in the Hall, Drake, Nicki Minaj—who lacked the interest or ability to create narratives about any past gunplay or drug-dealing." Similarly, in a retrospective article, Rosie Swash of ''The Guardian'' viewed the album's sales competition with 50 Cent's ''Curtis'' as a historical moment in hip-hop, writing that it "highlighted the diverging facets of hip-hop in the last decade; the former was gangsta rap for the noughties, while West was the thinking man's alternative."

Several artists and groups acknowledge being directly influenced by their 1990s predecessors in addition to alternative rock groups while their music has been noted by critics as expressing eclectic sounds, life experiences and emotions rarely seen in mainstream hip-hop. As traditional rock music continually becomes less synonymous with pop music, more left-of-center artists who are not fully embraced by hip-hop radio have increasingly found inclusion on alternative radio. According to Nielsen SoundScan, contemporary hip-hop acts who increasingly receive domestic airplay on alt-radio include Run the Jewels, Childish Gambino, Logic, Brockhampton, L.I.F.T. and nothing, nowhere. Regarding audiences, according to Jeff Regan, senior director of music programming for the Alt Nation channel on Sirius XM Radio, "This generation has maybe never even gone to a record store or CD store where there was a hip-hop section and a rock section—it has all been in front of them on a screen." Thus recording artists and groups traditionally perceived as rappers are included on his predominantly rock-oriented playlists. He said, "Whether it's Lil Peep or Brockhampton or Post Malone, we have tried records from all those artists. ... We need some depth perception in the music we're presenting. Whether it's done on a laptop or on an amp and a guitar, I just want to find something new—that's what alternative is supposed to be."

Reception and legacy

While some groups achieved commercial success, most alternative rap acts tended to be embraced largely by alternative rock listeners and indie music fans rather than hip-hop or pop audiences. Artists receive limited exposure through commercial radio and other media outlets and primarily rely on campus radio and various independent media channels. Alternative hip-hop is the recipient of consistent critical acclaim but is generally shunned by American mainstream media and widely regarded as commercially unappealing. New York radio personality and spoken word artist Imhotep Gary Byrd's single "The Crown" was rejected by American radio stations for being "too Black and too positive." However, the song was very well received and become a hit in Europe. It reached number 6 on the UK Singles Chart, becoming the longest record ever to reach the top 10 in the history of the British Charts. Over the years, multiple organizations representing African Americans such as the National Black Leadership Alliance and the National Congress of Black Women have released statements criticizing how urban radio stations refuse to play rap music that does not demean and degrade black women, shunning alternative hip-hop artists such as Arrested Development and Dead Prez. Q-Tip, frontman of the highly influential alternative rap group A Tribe Called Quest, had his sophomore solo effort, '' Kamaal the Abstract'', shelved for nearly a decade after his record label deemed the genre-bending album as sounding uncommercial. Q-Tip said:

Similarly, BET refused to play "Lovin' It", the lead single of duo Little Brother's socio-politically charged concept album '' The Minstrel Show'' (2005), which provided a tongue-in-cheek critique of African-American pop culture, on the grounds that the group's music was "too intelligent" for their target audience. The network was subsequently satirized by the animated series '' The Boondocks'' – which regularly features underground/alternative rap as background music – in the banned episode " The Hunger Strike". The episode, which portrayed BET as an evil organization dedicated to the self-genocidal mission of eradicating black people through violent, overtly sexual programming, was banned by Cartoon Network and has yet to be aired in the United States.

The alternative hip-hop movement is not limited solely to the United States, as genre-defying rappers such as Somali-Canadian poet K'naan and British artist M.I.A. have achieved worldwide recognition. K'naan's 2009 single " Wavin' Flag" reached number two on the Canadian Hot 100 while its various remixes topped the charts in several countries. Shing02 was chosen for rapping "Battlecry", the theme song of the hit hip-hop-influenced chanbara anime '' Samurai Champloo'', which had music produced by Japanese jazz rap DJ Nujabes. ''Time'' magazine placed M.I.A in the ''Time'' 100 list of "World's Most Influential people" for having "global influence across many genres." Groups like the British virtual band Gorillaz also experienced mainstream popularity during this time, selling over 20 million albums total between the albums ''Gorillaz'' (2001) and ''Demon Days'' (2005). Today, due in part to the increasing use of social networking as well as online distribution, many alternative rap artists are finding acceptance by far-reaching audiences.

See also

* List of alternative hip-hop artists

References

Further reading

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Bibliography

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Alternative hip-hop
1980s in music
1990s in music
2000s in music
2010s in music
Hip-hop genres