Two hundred psychedelic enthusiasts have converged in Austin, Texas for a “ceremonial concert” on the autumn equinox. People sprawl on yoga mats around a circular stage as staffers pace the candlelit warehouse, jingling bells and spritzing essential oils. While psychedelic drugs are prohibited, some attenders seem in an altered state, lying on their backs and breathing heavily as rumbles of bass from Jon Hopkins’ upcoming album, Music for Psychedelic Therapy, shakes the hushed space.

With Music for Psychedelic Therapy, Hopkins is the latest arrival in a growing pool of artists, academics, and entrepreneurs shaping psychedelic research and therapy with music. Psychedelia sprang from the LSD-spiked waters of 1960s counterculture, as the Grateful Dead, the Doors and Pink Floyd drenched the charts in washed-out reverb, loopy lyrics and sinuous sitars. Today’s psychedelia has been digitally modernised for the streaming era – and, as with so much counterculture, increasingly commodified. A lucrative new market is emerging for music designed for therapeutic trips using ketamine, psilocybin, MDMA and other psychotropic drugs. And from AI-driven apps to underground DJ mixes, the musical expression is as diverse and subjective as a psychedelic experience itself.

Read the full story on The Guardian.

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