In Matthew Collin’s Altered State, Ecstasy culture and
the dance scene find their chronicler. Collin’s history of ten
years of acid house is not just a celebration of the scene, but
an intelligent, informed examination of the diverse origins and
influences of dance culture, devoid of the hysteria that characterises
so much writing about Ecstasy.
Collin’s involvement in the dance scene from its very early days
is evident, but he manages to avoid a smug been-there-seen-it-done-it
approach. Instead, the benefit of his involvement and experiences
are combined with extensive research and documentation to produce
what must be the definitive ‘biography’ of this counterculture.
The longevity of a scene which so many saw as ephemeral is due,
in Collin’s argument, to the ‘open access’ formula of drugs and
dance: ‘a culture with options in place of rules.’ There is
a lack of dogma about the acid house experience which lends itself
to perpetual reinvention, yet simultaneously exerts an influence
on the society which created it. Collin argues that the culture
embraces you, makes you feel a part of a common cause. And it
is no coincidence that, just as Thatcher’s government set out
to destroy society, ‘E came along and made everyone feel part
of a new society.’
By placing the dance scene within its cultural context, the book
is able to draw parallels between this counterculture and the
dominant culture from which it developed. Although the ravers
of the late 80’s were rejecting Thatcher’s definition of society
by creating their own, they embraced the materialism of Thatcherite
politics with a massive black market in drugs and illegal warehouse
parties. The generation of entrepreneurs that Thatcher dreamed
of ended up being chased by her police force and condemned by
her government.
One of the strengths of the book is that it is not afraid to confront
the controversies that surround the dance scene. In documenting
the euphoria of the Ecstasy experience, he does not fail to acknowledge
the inevitable comedown. He is understanding of the police, while
critical of the laws that they must operate under. He addresses
the problems of legalising drugs, while arguing that there must
be an acceptance that drugs are taken, illegal or not. He sympathises
with the grieving parents of Leah Betts, and other drug casualties,
but warns against hysterical drug panic. Collin’s suggestion
is that the victims of Ecstasy have forced the dominant culture
to take a more rational approach to the scene. Betts, the middle
class ‘postergirl for the anti-E brigade’, has created an acceptance
that while the dance culture may be demonised by parents, to their
children it is an accepted part of a night out with friends.
If there is to be a new dialogue between the ‘chemical generation’
and the governing powers it would be difficult to find a more
rational, intelligent spokesman than Collin. He argues against
ignorance; of drugs, of countercultures and of the scene itself,
and with the publication of Altered State he gives us no
excuse to remain ignorant of the influences of the last ten years.
With Collin as its chronicler, it’s a very happy 10th birthday
for Ecstasy culture.
Reviewed by Pippa Wright
