The drum & bass scene of the 1990s and early 2000s emerged from the urban underground, where breakbeats, heavy basslines, and gritty atmospheres defined the music. Originating in cities like London, New York City, and Toronto, drum & bass was deeply intertwined with the multicultural realities of its time. While the music served as a unifying force for fans and DJs, its roots in urban environments meant it was also surrounded by the complexities of street culture, including drug use. Among the substances circulating during this era was liquid PCP, colloquially known by names such as "embalming fluid," "wet," "sherm," "illy," and, in New York slang, "dippy" or "dippies," referring to dipped cigarettes.
Liquid PCP, or phencyclidine, was a dissociative anesthetic with potent hallucinogenic effects, often smoked by dipping cigarettes—frequently Newport 100s—or joints into the liquid drug. The term “embalming fluid” was a misnomer, as the drug contained no actual connection to the embalming fluid used in mortuaries. The nickname likely arose from the liquid’s appearance or perceived effect of "preserving" users in a detached, surreal state. This misinformation persisted, adding an air of urban legend to the drug’s mystique.
The appeal of liquid PCP in some corners of the drum & bass scene was rooted in its ability to induce dissociative, almost otherworldly states. Unlike MDMA or cannabis, which were more widely used for their euphoric and social effects, liquid PCP was divisive. It produced unpredictable experiences ranging from euphoria and invincibility to paranoia, aggression, and psychosis. This unpredictability made it a less popular choice among ravers seeking to enhance the communal and rhythmic experience of drum & bass music. However, for a subset of users, the drug’s surreal effects complemented the darker, frenetic energy of drum & bass subgenres such as darkstep and neurofunk.
Venues like The End and Blue Note in London, as well as underground spaces like Twilo in New York City and DIY warehouses in Toronto, were central to the drum & bass culture. These spaces often operated outside the mainstream and were havens for experimentation, both musically and socially. While the majority of attendees were focused on dancing to the beats of pioneers like Goldie, Roni Size, DJ Hype, or Dieselboy, substances like liquid PCP occasionally appeared in the periphery, reflecting the grittier realities of the urban environments where the music thrived.
The drug’s presence was not universally embraced within the scene. Most ravers gravitated toward substances that enhanced their connection to the music and each other, such as MDMA, cannabis, or LSD. Liquid PCP’s dissociative effects, often isolating users from their surroundings, clashed with the communal ethos of many raves. Nevertheless, its association with street culture meant that it occasionally intersected with the drum & bass scene, particularly in regions like New York City. Local slang like “dippy” or “dippies” referred to PCP-laced Newport 100s, highlighting the drug’s ties to specific urban subcultures.
Musically, the mood of certain tracks paralleled the surreal and detached effects of PCP. While no prominent drum & bass artists directly referenced or endorsed the drug, the genre’s darker and more experimental subgenres often evoked similar emotions. Tracks like “Valley of the Shadows” by Origin Unknown or Goldie’s brooding productions captured an intensity that resonated with the drug’s otherworldly reputation. However, these connections were thematic rather than explicit endorsements.
By the mid-2000s, the drum & bass scene began evolving. The rise of professionalized clubs and festivals, combined with stricter policing of underground events, reduced the prevalence of hard drugs like PCP. As the culture matured, it increasingly focused on its musical roots, shedding some of the darker associations tied to its earlier years. Today, while liquid PCP remains a cautionary tale from the fringes of the drum & bass scene, its role in the culture is remembered as a footnote rather than a defining feature.
Drum & bass has always been a genre rooted in resilience, innovation, and community. While the intersections of urban life and substance use are a part of its history, the culture’s legacy is ultimately defined by the music and the people who built it, not the vices that sometimes accompanied it.