"The sound of sweat, hallucination and revelation": Gabe Soria meets BELONG (2006)

HEAVY AIR
An Orchestra of Feedback and Humidity, Courtesy of New Orleans duo Belong

Text by Gabe Soria, illustration by Arik Moonhawk Roper

Originally published in Arthur No. 23 (June 2006)

There’s a ‘round-the-clock environmental buzz everywhere in New Orleans if you’ve got the ears to hear it. It’s a deep, almost sub-sonic, earth-drone that’s especially evident during the wicked days of summer. It’s in the awesome silence of the baking, deserted streets at noontime; it’s in the deafening biological volume of the wild, tropical greenery and of bugs reproducing insanely; it’s in the groaning of the cracked sidewalks, ancient houses and crumbling cemeteries; it’s in the LSD-like intoxication produced by the common cocktail of casual drinking crossed with 100 percent humidity and three-digit thermometer readings.

October Language, the stunning debut album from New Orleans drone guitar-duo Belong, is a de facto impressionistic field recording of the ineffable and beautiful noise that permeates the city. Miles away from the jazz, funk and bounce hip-hop that defines New Orleans music to the world at large, October Language still manages to be as genius an expression of the soul of the city as Professor Longhair’s “Tipitina,” Juvenile’s “Back That Azz Up,” Dr. John’s ” Right Place, Wrong Time” or Irma Thomas’s “Ruler of My Heart.” It’s the sound of sweat, hallucination and revelation, and every cat who’s made it through a couple of New Orleans summers can dig that.

Belong is comprised of New Orleans natives Turk Dietrich, 28, and Mike Jones, 27. Dietrich—lanky and gregarious, possessor of the strange New Orleans accent that sounds strangely Southern and Brooklyn-esque at the same time—is the talker of the two. Both came back to New Orleans a few weeks after Hurricane Katrina hit the Gulf Coast, and both plan on staying for the forseeable future. Both are the type of guys who you want to knock back beers with all night with in a smelly bar, fellas you’d want to have on your side in a fight. Having heard snatches of their brilliant debut scant days before a second trip to his old habitat of New Orleans inside a month [the last being a Mardi Gras visit detailed last issue], your correspondent made a few phone calls and tracked Belong down to a bustling coffeehouse on Magazine Street for a quick talk. Decompressing from a recent U.S. tour with Ariel Pink and preparing to embark on a European tour, the band was eager to jaw about video games, the peculiar habit of some New Orleans residents of beginning evenings out at midnight, and plans to attend work parties to help Ms. Antoinette K-Doe repair the fire damaged Mother-in-Law Lounge. We also managed to talk about music a bit…

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Jeremy Narby on what hallucinogens like LSD and the Amazonian drink ayahuasca have to teach us

NarbyRoper

STRANGE BREW
Canadian-Swiss anthropologist JEREMY NARBY on what hallucinogens like LSD and the Amazonian drink ayahuasca have to teach us

Introduction by Erik Davis
Q & A by Jay Babcock
Illustration by Arik Roper

Originally published in Arthur No. 22/May 2006 (available from the Arthur Store)

INTRODUCTION
by Erik Davis

The anthropologist and author Jeremy Narby hit the intellectual freak scene in 1998 when he published The Cosmic Serpent, an audacious, intriguing, and entertaining dose of righteous mind candy that grew out of his decades-long explorations—both personal and scholarly—of the ayahuasca-swilling tribes of the upper Amazon. A Canadian living in Switzerland—at least when he’s not researching in the jungle or working on indigenous rights—Narby is no bug-eyed hippie prophet of “the tea.” He is a grounded, sensible fellow with a dry wit, an unromantic but respectful view of shamanism, and an allergy to vaporous supernatural claims. (In Europe he also sometimes performs with the guys behind the Young Gods, a seminal Swiss industrial band that led the Wax Trax pack back in the day.) While Narby’s head has definitely been broken open, his book does not spend a lot of time on the “spiritual” import of the jungle brew. Instead, Narby focuses on one of the biggest claims made by the Amazonian shamans: that their ritual ingestion of the hallucinogenic brew not only brought them contact with the spirits of animals and healing forces, but actually gave them knowledge—actual data—about the workings of the jungle around them.

After all, some sort of weird data transfer is going on in the jungle (though its hard to say it reaches the increasing numbers of spiritual tourists who are now hustling down to the Amazon and transforming shamanic culture with first world dollars). The existence of ayahuasca itself may be one of the greatest mysteries. Ayahuasca is not one plant, but a relatively complex brew that requires a fair amount of preparation. How did the old ones know that, out of the 80,000 some species of plants in the jungle, only this vine, combined with that shrub, and then boiled down into black gook, can produce the mother of all trips (not to mention some grade-A karmic Drain-O)?

Narby takes the mystery one step further: could the shamans be right? Could the brew, which one informant calls “the television of the jungle,” facilitate the knowledge of the jungle? To approach this question, Narby attempts to “defocalize” his gaze so that he can perceive science and indigenous understandings at more or less the same time. This trippy conceptual exercise leads him to the central mindfuck of the book: that the serpents that commonly slip into the visual field during ayahuasca trips are a figurative expression of the ultimate source of ayahuasca’s visionary communiqués: the coils of DNA. Ayahuasca is not just a head trip – it is a communication with the “global network of DNA-based life.” Narby is no true believer, and he is somewhat startled by his own hypothesis, but that makes it all the more compelling, and the lengthy notes in the back of the book prove he is doing more than riffing.

After co-editing a powerful collection of first-hand reports of Western encounters with shamans, Narby came out with the book Intelligence in Nature. Rejecting the idea that plants and “lower” animals are mute mechanisms, Narby uncovers scientific evidence that impressive feats of cognition are going on outside the precious smartypants club of the higher primates. Narby looks at bees capable of abstract thought, and unicellular slime molds who are able to solve mazes. Perhaps inevitably, the book is not as wild a ride as The Cosmic Serpent, and Narby spends too much time describing his mundane journeys to research labs and too little time wrestling with how “intelligence” relates to choice, or awareness, or intention. Nonetheless, the book is a worthwhile example of Narby’s “defocalized” gaze – an undeniably scientific appreciation whose inspiration lies with the fundamental shamanic belief that other creatures, and even some plants, are, in their own world, “people” like us.

INTERVIEW
conducted by Jay Babcock over the telephone in late January, 2006

Arthur: You attended the conference on LSD held in Basel this past January to coincide with the 100th birthday of the father of LSD, Dr. Albert Hoffman. What happened there?

Jeremy Narby: What didn’t happen? I think one needs metaphors to get at it, really. When LSD hit in the ‘60s, it was like a drop of mercury that went in all kinds of directions, broke into a lot of different shards. Because LSD affects consciousness and consciousness affects everything, LSD had an impact in art, in music, in thinking, in the personal computer industry, in biology, and so on. In Basel all the different little pieces came back together and arranged themselves in a kind of mosaic that was psychedelic, multi-faceted and beautiful. All the chickens came home to roost after 40 years, looking good. One of my favorite moments was when Christian Ratsch came on the big stage with Guru Guru, which is the original Krautrock band. He was walking around with amber incense and stuff, providing incantations and shamanistic energy during the set, and these sprightly gentlemen, who must be about 55, just rocked the house down. It was fantastic.

Arthur: So, where does it go from here?

Jeremy Narby: One of the aims of the symposium was a kind of explicit political aim at getting psychedelic research back on the scientific map, and I think the point’s well taken. But you know, I’ve been working as an activist to get recognition for the knowledge systems of indigenous peoples and essentially despite a couple of decades of work and a lot of clear data (it seems to me), there’s really a fundamental resistance coming out of rationalism, coming out of Western cultures, coming out of the political systems. So I have the feeling of having led the horse to water but it didn’t want to drink. Sure, we can talk to the horse nicely and try and get it to drink the water some more, but finally I feel like more drastic tactics are needed. Like kicking the horse in the butt, or telling it to go and take a hike, or turning your back on it.

So I applaud these efforts to legalize psychedelic research, but… There are those among us who have wanted to use hallucinogens how indigenous people use them—in a serious way to understand the world. And we’ve been doing it, underground, for the last bunch of decades, and getting results that are richer and more interesting than what the Western rationalists are producing. So, I’d say that I’d rather take hallucinogens and then write stunning books than make speeches about hallucinogens.

Arthur: What was the response of Western rationalists to your hypothesis in The Comsic Serpent—that Amazonian shamans were actually receiving information at the molecular level via the ayahusaca trance?

Jeremy Narby: Scientists said that I hadn’t tested my hypothesis. Well, okay : I was just happy to have it considered testable! [chuckles] So how do we test it? Well, you try to falsify your hypothesis. You come up with a test to try to demonstrate that it’s wrong. That’s the scientific method. So, I thought, let’s send three Western molecular biologists with questions in their labwork down to the Amazon and put them into ayahuasca-induced trances. If they didn’t come up with any information then my hypothesis would start to look falsified. Now, it is a heavy thing to ask people who have never taken mindbending hallucinogens before to submit themselves to the experience in the name of science. These people are making their psyches available to you and then you distort them with these powerful hallucinogenic plants. In terms of ethics, this is even worse than experimenting on animals. It’s experimenting on humans. They were consulting subjects and all, but sheesh, this is serious business. I mean, the first thing that ayahuasca does, before it answers whatever questions you might put to it, is it tells you about yourself. It puts its finger on your weak spots, fast. It encourages you to clean up your act. This makes it a hard path to knowledge for somebody who’s into ‘being objective’ in the lab. As a scientist, you’re not supposed to pay attention to your subjectivity—you’re supposed to jettison it. But when you end up in an ayahuasca experience, it’s your little subjective self that is the hot point. Your subjective self comes to the forefront in your acquisition of knowledge. For a scientist, that’s a rough one.

Arthur: You were able to find volunteers, nonetheless. I gather they were colleagues… ?

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BLACKOUT: Arthur's new music mixtape/compilation

Arthur’s new 49-minute mixtape, specially designed to accompany (or simulate) a human-plant interaction, is now available as a digital download, featuring a high resolution JPG of the Arik Roper artwork (above), some additional art and text, and the following sequence of songs, as selected by Arthur editor Jay Babcock and sewn together by engineer/mixer Bobby Tamkin.

50-SECOND TEASER TOKE:
[audio:http://www.arthurmag.com/magpie/wp-content/uploads/2010/09/Blackout-Teaser.mp3%5D

TRACKLIST:
1. MOON DUO “Into the Trees” (from the Escape LP on Woodsist)
2. WHITE HILLS “Three Quarters” (from the White Hills LP on Thrill Jockey)
3. WHITE NOISE SOUND “Sunset” (from the White Noise Sound LP on Alive Naturalsound)
4. LORDS OF FALCONRY “Osiron” (from Lords of Falconry on Holy Mountain)
5. ENDLESS BOOGIE “Pack Your Bags” (from the Full House Head LP on No Quarter)
6. MASTERS OF REALITY “Johnny’s Dream” (from the Pine/Cross’d Over LP)
7. MESSAGES “Tambura” (from the After Before LP on De Stijl)
8. ENUMCLAW “Harmonic Convergence” (from the Opening of the Dawn LP)

Pay what thou wilt, starting at $4.20. All proceeds go towards keeping the Arthur community garden alive through the fall season.

Order here: BLACKOUT NO LONGER AVAILABLE

There's bargains galore at the Arthur Store

Our very popular “Tuff Wizard” T-SHIRT (pictured above) by Arik Moonhawk Roper is back in stock in all sizes, forest green on cactus green, $18.95 postpaid.

VINTAGE BACK ISSUES of Arthur Magazine’s 2002-2008 run have been repriced—some as low as $3.50 postpaid. Hot dawg!

Two CDs we thought we’d run out of are back in stock—extremely limited quantities of artfully curated and sequenced mix CDs by Plastic Crimewave (“2 Million Tongues”) and Comets on Fire/Howlin Rain’s Ethan Miller (“Bread, Beard and Bear’s Prayers”) are now available. Very happy to be able to offer these again, for $10 postpaid, natch.

A few of our CDs have been re-priced to $10 postpaid! When they’re gone, they’re gone daddy.

Have a browse at the Arthur Store. Order with PayPal, credit card and debit card—or you send (well concealed) cash, money order or check by mail.