Crafting Soundscapes for Psychedelic Transformation with East Forest | Psychedelic Medicine Podcast

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In this episode of the Psychedelic Medicine Podcast, East Forest joins to discuss several aspects at the intersection of music and psychedelics, including how he created the music that so many have used when facilitating psychedelic journeys. East Forest’s latest project, a feature length documentary film called Music For Mushrooms, follows him through the psychedelic renaissance on a mission to pair music with psychedelics to bring about transformative healing to a world in crisis.

In this conversation, East Forest discusses how he first got started making music for psychedelic journeys and the considerations that go into curating the right sound to best support these types of deep inner experiences. He emphasizes the importance of avoiding music that sounds overly sentimental and lacks the depth and richness important for effective psychedelic exploration. He also discusses the importance of maintaining the container, whether in the context of psychedelic facilitation or purely music-focused ceremonies, and suggested that sternness and fortitude have an important function in this context. In closing, East Forest suggests that music is so powerful because of the way it is able to be a point of connection to integrate experiences and bring people together.

In this episode you'll hear:

Composing soundtracks for psychedelic journeys with different substances

Integrating nature sounds into compositions

Flow states and music

Bringing live elements of music and sound into a psychedelic ceremony

Singing as a regulating technique during a psychedelic journey

The intersection of music, technology, and psychedelics

Quotes:

“If we look at psychedelic experiences and ceremonies from indigenous use, all of them that I know of were guided by music.” [3:16]

“I think it’s more the intention behind the music. I don’t think there’s a particular thing you have to do or not do, but I don’t think you can just play any music. So I think it’s the intention of the music and the intention of the room and the intention of the participants… There has to be an invitation on all of those fronts for that doorway to open.” [16:11]

“I think we’re looking for music and for space that is supportive of that through-line and gives us enough time to be in a process—and that’s another advantage of having these longform, intentional, bespoke songs because they are probably going to give more of that time and space for these processes to occur.” [32:43]


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