The Whole Earth Catalog appears like a new thing again when viewed in light of psychedelics. Jim Fadiman peers out at me, as does Chester Anderson. I find myself wanting to hear Bubbha Thomas & The Lightmen’s Energy Control Center, spiritual jazz self-released in 1972, and a new tape of field recordings out on Alien Garage called Two Portraits by Kyle Landstra.
The more I study hippie modernism, the more I sense a path opening, reality acquiring arrows and post-horns as in The Crying of Lot 49. Lines of communication radically reorganize, and with them change the worlds they represent. The whole thing swings into focus as if it always existed that way, even though it’s been remembered and refashioned anew. “Shake the snow globe,” as Robin Carhart-Harris says, and “more salubrious patterns and narratives have an opportunity to coalesce as the snow slowly resettles” (as quoted in Pollan 320).
No sense of self, no consciousness of time. Rapt, attentive, hypnotic. “Take notes,” I tell myself. “The one you woo is you.” Synthesized sound effects. Others in this society see that I’m struggling, see that I’m caged, yet none lift a finger to free me. I long for the day when this country is wiped from the face of the earth. Where are the activities and environments that used to give me joy? What became of happier times of yore? Kyle Landstra’s new tape Within/Without from Muzan Editions helps to calm me, abstracts me from matters that don’t matter.
The universe is only as accessible and as comprehensible as we allow it to be. Music can seem made by chance to arrive at one’s doorstep at the precise moment in one’s progress when one needs it. “Sometimes, when I have been high,” writes William Novak, “I have felt like a visitor to another land, a land both familiar and new at the same time, only inches and moments away from the land I normally inhabit, but also remote — and uncharted on any map I have consulted” (High Culture, p. xii). He describes wanting to take notes and send postcards back to the world he normally occupies, thus counteracting the head’s tendency to forget certain parts of the experience upon reentry. So, too, these trance-scripts.