Editor’s Note: Today’s post comes from contributing editor Peder Clark. Dr. Clark is a historian of modern Britain, with research interests in drugs, subcultures, health, everyday life, and visual culture. He completed his PhD in 2019 at the London School of Hygiene and Tropical Medicine (LSHTM) and currently holds a position at the University of Strathclyde.
“Taking Drugs To Make Music To Take Drugs To”, the title of British indie band Spacemen 3’s 1990 album, sums up for many the symbiotic relationship between rock music and psychoactive substances. From “Cocaine Blues” to Jefferson Airplane and from “Feel Good Hit of the Summer” to Amy Winehouse, rock’s back pages are soaked in the celebration, inspiration, and (sometimes) repudiation of drug-fueled intoxication.
The conspicuous consumption of drugs—or winking allusions to drugs—is a tried-and-tested way for young musicians to illustrate their edginess, to promote their counter-cultural associations, and to make real the moral danger that they might feel is inherent in the art-form. No need, however, to bore Points readers with musings better suited to ghost-written Keith Richards memoirs.
What about musicians that aim for a more considered, less debauched approach to chemically-enhanced states of mind? This is all by way of introduction to a recent bubbling up of psychedelic consciousness amongst musicians of a certain vintage—and a renewed attention to the role of music in psychedelic therapy.