PSYCHEDELIC MUSIC

Psychedelic is defined as: of, producing, or marked by abnormal psychic effects, such as hallucinations and/or perceptual distortions, where the word psychic relates to the psyche, or the soul, spirit and mind...

It is believed that unusual psychic experiences may be caused by non-physical, supernatural phenomena. Phenomena that cannot be explained by known natural laws. These experiences are often regarded as communication with the "spirit world".

For time immemorial, Native American Indians have used psychedelics, dance and hypnotic, trance-inducing music as a gateway to the other world. Psychedelic rituals inspired dream-like visions and these brought insight into the harmony between man and nature. Similar metaphors exist in cultures throughout the world.

It is believed that modern psychedelic music originated in 1961 when a famous gram of LSD (known as "Lot No. H-00047") found its way to celebrities such as Donavan, Paul McCartney, Keith Richard and Timothy Leary (to name only a few, and dates are vague for McCartney and Keith Richard). Whether any music resulted is unknown. It is certain, however, that this one event kicked off a wave of international interest that remains today.

By 1962 psychedelic usage had increased significantly and folk musicians were using LSD regularly to get what they called "cerebrally electrified". The Gamblers, incidentally, recorded the first song known about LSD in 1962.

The Monterey, California Pop Festival of 1963 played a key role in the evolution of psychedelic music - many there took LSD to celebrate and enhance their appreciation of the festival. Musicians and artists soon began wide-scale experimentation with ways to perform that would complement, direct and heighten psychedelic effects or present a "flash" of the experience for the uninitiated.

By 1966, Haight-Ashbury was alive with psychedelic music furnished by LSD-using groups such as Jefferson Airplane, the Grateful Dead, Big Brother and the Holding Company and Country Joe and the Fish. Interestingly, they say that the "Bay Area" style of music and dancing, if anything, emulated the tribal American Indian. The psychedelic "wave" crested in 1967 when hundreds of thousands of people (wearing all colors of the rainbow and with "flowers in their hair") converged on San Francisco for "the summer of love".

Psychedelic festivals (or "Be-ins") played an important role in the "flower-child" movement. Be-ins emphasized open, large-scale, uncontrolled enjoyment of expanded consciousness. This large-scale unity reflected the massiveness of the movement and consequently, the general public became frightened. Furthermore, the movement, while peaceful, was antiestablishment in that it opposed the Vietnam War. Hysteria ended in late 1967 when the US government intervened - use of LSD and other psychedelic drugs became a felony offense and be-ins were history.

Psychedelic music remained dormant for almost 20 years, with the notable exception of the Grateful Dead. For over three decades (until the recent death of Jerry Garcia), Dead shows provided a year-round 60s be-in haven for the psychedelic community. During the 70s-80s-90s hundreds of thousands people spent part of their life on the road, "touring" with the Dead. The Grateful Dead were unique in that they continued the (the now highly illegal) Haight-Ashbury tradition of experimenting with ways to direct and heighten psychedelic effects during their shows.

British "Rave" or "acid house" is the latest incarnation of psychedelic music. Raves are huge, all night or weekend long dance parties fueled by MDMA, LSD, intense psychedelic light shows and the trance inducing (acid house) rhythms. The rave scene hit to the US in the early 90s and has spread through most of Europe and parts of Asia.

"Street Parades" are the latest "Be-in" phenomenon. In 1997, over one million people gathered in Berlin to celebrate freedom and tolerance, techno style. A street parade is basically an excuse for a citywide rave. The "parade" consists of trucks blasting psychedelic music through 100,000-watt power amps. The streets overflowing with people from all walks of life, enchanted and entranced, dancing to the pulsing rhythms. Similar "Be-in" events have occurred in London and Zurich this year as well.

THE MYSTIC EXPERIENCE

Psychedelics are often related to the mystical experience and many believe that what is witnessed during this altered state is not hallucination, but what is considered "ultimate reality".

It is believed that the mystical experience stems from direct communication with "God" or with "ultimate reality". This typically involves trance-inducing activity or deep meditation.

There are certain fundamental characteristics related to this experience that are universal and not restricted to one religion or culture. Whether or not the experience is "religious" depends upon one's definition of religion.

UNITY

Loss of self without loss of consciousness accompanied by awareness beyond measure. A sense of oneness with objects, and at the most basic level, part of everything that is.

TRANSCENDENCE OF TIME AND SPACE

- Time distortion - clock time and sense of past, present and future.
- Alteration of normal 3D perception.
- Eternity and infinity.

DEEPLY FELT POSITIVE MOOD

- Deep felt, innermost joy, happiness and peace (tears may be associated).

SENSE OF SACREDNESS

- Sense one is witnessing or part of the "grand scheme".
- Sense that the experience is holy, but religious terms need not be used.

OBJECTIVITY AND REALITY

Insightful knowledge or illumination felt at an intuitive, non-rational level - gained by experience. The certainty that knowledge gained is truly real, in contrast to a delusion. Such insight is not gained by facts. What becomes known requires no proof at a rational level. This includes insights into life, existence and one's self.

PARADOXICALITY

Rational interpretations of the mystical experience tend to be contradictory when analyzed. For instance:

- We are a universe within ourselves and yet insignificant in the scheme of life.
- We are separate from, yet connected to everything that is.
- We can be "brilliant", yet incapable of performing even simple functions.

ALLEGED INNEFABILITY (Playing Dumb)

In general, words fail to describe mystical experiences. However, many aspects of the mystic experience may be so personal or so sacred in nature, yet so completely irrational, that there is a tendency to withhold and simply play dumb - even when two people share the same experience. Note: shamans believe language should not be used to describe the indescribable.

TRANSIENCE

The mystical experience is temporary and cannot be sustained. The knowledge that the mystical experience cannot be sustained adds to its sense of sacredness.

LASTING CHANGES IN ATTITUDE AND BEHAVIOR

Toward Self. Undesirable traits are reduced or eliminated. Sense of authority is strengthened. Quality of life is increased. Creativity is released. Feelings of happiness, joy, and peace.

Toward Others. Increased sensitivity, tolerance and love. Authenticity as a person through openness and being one's true self.

Toward Life. Sense of values, meaning and purpose. Appreciation of life and the whole of creation. A sense of reverence, with more time spent on meditation.

Toward the Mystical Experience. The experience is regarded as valuable. It is remembered as a high point and an attempt is made to recapture it. New experiences provide a source of growth and strength. Experiences of others are more readily appreciated and understood.

PHYSICS

Many believe that one can catch a "contact high" from someone who is in a psychedelic state. Further, it is believed that music created in this altered state can create a "flash" of the experience for one that is in an otherwise "normal" state. Thus, psychedelic recordings are much more than songs with rhythm, melodies and notes, they are vibrations that affect the psyche like a drug.

In the psychedelic state it is possible to see vibration. Light vibration, sound vibration, even life vibration (everything vibrates). Therefore, it is possible to create music, while in the psychedelic state that presents a consistent visual image over repeated experiences - music that paints a picture, music that is art.

Most of today's psychedelic music capitalizes on vibration but ignores timing and depth.

Natural vibration is chaotic. It does not follow a fixed 3/4 or 4/4 beat, it blows like the wind and flows like the water. It surges and recedes. There is a pattern and tempo, but it is very complex.

Depth is perceived through filters and reflection. We see the mountains because they reflect light. Clouds filter the light, changing the refection. Over time, the clouds move - changing the light and reflection.

Filters and reflection add perspective and dimension to space. Movement is simply a
factor of reflection over time.

Psychedelic music encapsulates vibration, timing and depth. Songs are designed to convey a three dimensional "model" of energy - energy that moves and breathes like the forces of nature; energy with extent and perspective; magical, mystical energy.

TIME

It is believed that the human mind takes (remembers) approximately 60 "pictures" a second (input from all senses). In essence, it samples (based on a clock). Even if the number is higher, say in the hundreds or even the thousands, the result is still the same - we exist in an on/off state - we sample - we vibrate.

Time of day and ones experiences change our internal clock rate. For example, most people who have been in a car accident notice that time slows down dramatically (i.e., the clock speeds up, there are more pictures per/second and thus, more time to react). Most people have also experienced periods with a complete loss of time (or virtually no samples).

Psychedelics increase sample resolution tremendously. Almost everyone who has taken psychedelics has experienced "trails" - where movement can be seen as a series of steps, rather than continuous motion. Thus, the faster the rate - the more steps and the longer the trails.

Music can be used to prove this theory. With a keyboard it is possible to create a pulse that it is so fast, all one hears (under normal conditions) is continuous sound. Under psychedelic conditions, however, one is able to hear full separation and the actual composition of the pulse. The minds clock rate surpasses the pulse rate. The pulses become trails.

Timing is the essence of psychedelic music. Increased timing allows one to see sound vibration. Thus, if one can see it, one can create it. Moreover, one can create it so that it conveys a specific image.

Our ability to comprehend energy and vibration is described in Timothy Leary's book "The Politics of Ecstasy". Here, he defines energy consciousness as combination of social, scientific, artistic and religious factors.

Recording for a specific time is like "hitting a moving target". Timing changes over time. Songs engineered for one speed, may not sound right at another (because parts are missing.) At "peak" speeds completely new songs might reveal themselves. At "snail" speed, one might decide to forget the whole thing.

Over time, psychedelic recordings can help one to understand timing. While our environment continues to evolve and change (e.g., no two days are the same), recordings remain constant. Thus, they can be used as a reference or as instrumentation - what do I perceive? What did I perceive before? How does what I perceive elsewhere relate? Basically, what is my sample rate? Simple scientific methods can greatly reduce the confusion associated the overall experience.

SPACE

Most music (even modern psychedelic music) has two dimensions. This is because the placement of instruments (e.g., bass, guitars, keyboards, drums and vocals) remains constant. Even with effects (delay, reverb, chorus, etc.) the effect remains constant. The result, a two dimensional sound with no movement and no perspective.

Music with three dimensions moves. It has depth and perspective, It has topology, landscape and color. It occupies space. It can create the illusion of movement over time - sonic virtual reality.

Next time your are taking a shower - listen.The water creates sound as it exits the showerhead and again as it reflects off your body (this is like light reflecting off mountains). As you move, the sound changes. The constant sound plus the reflective sound provides a 3D representation of space over time. (One could probably visualize the entire event through a recording.)

3D music follows the same principle - it describes space with sound. Constant sounds (acting like water or light) are reflected off, or filtered through, "perceived" moving objects. Objects with texture and shape. The resulting sound conveys a moving image that can be visualized.

TECHNOLOGY

Technology has come a long way in the last five years. Today, almost anyone can afford a professional quality "home studio". Music can be created at ones leisure and in the privacy of ones home. One can experiment with different times of day and different states of consciousness (and no setup is required).

Think about it. Just a few years ago a band would have to haul all their equipment to the recording studio. Transcend into the mystical state. Assuming everyone wanted to be there (because studios are usually dark, small enclosed places), and you could get the equipment working (because you are too messed up), you do some "psychedelic recording". It's possible, but it would probably take a long time. (Plus, you would have to know a studio willing to ignore the legal implications of the "experiment".) All in all, highly unlikely.

Digital technology allows one to record and edit endless tracks of analog and/or MIDI data. Tracks can be edited, looped, transformed and so on. One is able to experiment with different instruments, keys and tempos without changing the original recording.

Through this technology it is possible to work with tempos that are physically impossible for humans. For example, one could record a panning change and then speed it up by a factor of 100. When played back it would create the perception of movement that is so fast, it is mind boggling.

MIDI controllers and digital effects allow one to create music with depth and perspective. MIDI controllers allow one to manipulate the placement, volume and timbre of an instrument (which gives it perspective and creates the perception of movement over time). Effects are also important because they provide depth and spatial boundary. (Echo, resonance, phase and reflection are especially important.)

The internet is also key. Through the internet, psychedelic music, literature and art can be shared on a global scale. People searching for psychedelic knowledge can easily find it, and moreover, one another - a capability that has been around for less than 10 years.