Alternative hip hop (also known as alternative rap and experimental hip hop) 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 managed to achieve commercial success before breaking up, 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, English artist M.I.A., and Norwegian Lupae Filius. 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 and Black Sheep.
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, People's Instinctive Travels and the Paths of Rhythm, and Bizarre Ride II the Pharcyde achieved minor commercial success as they garnered immense acclaim from music critics, who described the records as managing to be both ambitiously innovative but playful masterpieces, hailing the artists as the future of hip hop music as a whole.
Mid–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, The Chronic and Doggystyle redefined the direction of hip hop, which resulted in lyricism concerning the gangsta lifestyle becoming the driving force of sales figures. The situation broke way 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 came to the conclusion that the subgenre was a complete failure.