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BRAINTICKET

Krautrock • Switzerland


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Brainticket biography
Basically, BRAINTICKET were born out of a 60's jazz group featuring Belgian born keyboardist Joel VANDROOGENBROECK, and as history was made, BRAINTICKET became the project of a visionary talent. They were among the important pioneers of early psychedelic and spaced out cosmic.

Their musical experience of four decades:
1 - HALLUCINATIONS OF REALITY:
BRAINTICKET's debut album is perhaps one of the most psychedelic recordings of all time. Their second "Psychonaut" is far more pleasant and an ethnic type of early German rock!
2- ERA OF TECHNOLOGY:
On "Celestial Ocean", music is really early Krautrock mixed with a fair amount of analog and spacey keyboards. A bizarre mystical concept based on Egyptian mythology.
3- OTHER ADVENTURES:
"Adventure" is a heavy cosmic voyage into the epicenter of your mind. "Voyage" continues where "Adventure" left off with more strange sonic cosmos and amazing percussive tones and moods.
4- SPACE TRAVEL:
"Alchemic Universe" blends the finer aspects of space travel more in a TANGERINE DREAM'ish/ of KRAFTWERK sytle. If your into the psychedelia then BRAINTICKET is your long lost grandfather.

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AdventureAdventure
Cleopatra 1997
Audio CD$9.80 (used)
VoyageVoyage
Cleopatra 1997
Audio CD$22.49 (used)
Vintage Anthology 1971-1980Vintage Anthology 1971-1980
Box set
Cleopatra 2011
Audio CD$24.99
$28.99 (used)
CottonwoodhillCottonwoodhill
Cleopatra 2013
Audio CD$8.18
$8.00 (used)
Psychonaut [Vinyl]Psychonaut [Vinyl]
Cleopatra 2011
Vinyl$10.99
$39.99 (used)
Celestial OceanCelestial Ocean
Lilith 2010
Vinyl$29.68
$29.18 (used)
Live in Rome 1973Live in Rome 1973
Cleopatra 2011
Vinyl$11.99
$19.63 (used)
Alchemic UniverseAlchemic Universe
Cleopatra 2009
Audio CD$9.99
$18.15 (used)
Alchemic Universe LP (Vinyl Album) European Lilith 2012Alchemic Universe LP (Vinyl Album) European Lilith 2012
Lilith
Vinyl$34.99
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Celestial Ocean by Brainticket (CD, Nov-2002, Cleopatra) [VICTOR STEREO] USD $15.00 [0 bids]
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LP alchemic universe ~ USD $20.97
CD celestial ocean ~ USD $15.77
LP cottonwoodhill ~ USD $20.97
LP psychonaut ~ USD $20.97
CD psychonaut ~ USD $15.01


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BRAINTICKET shows & tickets


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BRAINTICKET discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

BRAINTICKET top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.77 | 120 ratings
Cottonwoodhill
1971
3.77 | 92 ratings
Psychonaut
1972
3.96 | 80 ratings
Celestial Ocean
1974
3.72 | 24 ratings
Adventure
1980
4.04 | 28 ratings
Voyage
1982
2.53 | 11 ratings
Alchemic Universe
2000

BRAINTICKET Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.04 | 5 ratings
Live in Rome, October 3, 1973
1973

BRAINTICKET Videos (DVD, Blu-ray, VHS etc)

BRAINTICKET Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.41 | 4 ratings
Brainticket (CottonWoodHill)+ Psychonaut
2002

BRAINTICKET Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.00 | 1 ratings
Places Of Light/Poetry
1971

BRAINTICKET Reviews


Showing last 10 reviews only
 Cottonwoodhill by BRAINTICKET album cover Studio Album, 1971
3.77 | 120 ratings

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Cottonwoodhill
Brainticket Krautrock

Review by Neu!mann
Prog Reviewer

4 stars Forget about those lame Parental Advisory labels. The first Brainticket LP actually had the following tongue-in-cheek warning printed directly on its rear sleeve: "Only listen once a day to this record. Your brain might be destroyed! Hallelujah Records takes no responsibility."

Pure P.T. Barnum claptrap, of course. But unwary consumers should still approach the album with caution, because there's more at risk here than the tender contents of your skull. Consider the possible damage to clothing, furniture, and any remaining shred of dignity after you simultaneously void your bowels, flush your bladder, and begin bleeding from every other orifice while enjoying this lunatic musical experience. And yes, enjoyment is the correct word.

The album opens with two songs almost designed to lull you into a false sense of security: a pair of mildly psychedelic funk grooves with polite stoner poetry ("Your mind will ache to be carried off in her silver light / pain will fill your being as you devour the beauty that evades your control...") Go ahead and laugh, but the words foreshadow the unrestrained mayhem waiting just around the corner, in the two-part, three-sectioned title suite, spread like a virus over the remaining one-and-a- half sides of vinyl.

The track opens, appropriately, with a loud crash and the siren of an emergency response vehicle, closely followed by one of the grungiest Hammond organ riffs ever heard on Planet Earth. That nervous, jerky keyboard rhythm will repeat for 25-minutes, functioning like an anchor for a dizzy array of random sound effects: alarm bells, raucous laughter, breaking dishware, vigorous tooth- brushing (complete with gargling and spitting), freight trains, Gatling guns (or are they jack- hammers?), manic chimpanzees and, at the end of Part One, the heroic four-note orchestral fanfare to Beethoven's Symphony No. 5 in C Minor. It isn't actually Krautrock, but where else would you put music like this, outside of a straightjacket?

And then there's Dawn Muir, the band's resident succubus: a lysergic Pandora opening the lid of her voice-box and unleashing a host of psychotropic demons upon an unsuspecting world.

Her performance (recited, not sung) is by turns seductive, menacing, funny, frightening, paranoid, ecstatic, and completely unhinged. I would love to have been a fly on the studio wall while the tapes were rolling and Ms. Muir was firing on all cylinders: whispering deep purple invitations, shouting brainwave non-sequiturs, hyperventilating on the edge of orgasm, and pleading (too late) for some return to sanity. Give her credit for holding nothing (repeat: nothing) back, least of all her unsteady grip on reality.

What it all adds up to is a unique but lopsided album, unbalanced to the point of near-collapse. The extended title track completely overwhelms the rest of the album, and likewise obliterates the band's entire subsequent discography, which can't help but sound tame by comparison. You may love the uninhibited self-indulgence, or you may hate the album for the exact same reason. But once heard it won't be soon forgotten, and there aren't many records able to make that claim.

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 Cottonwoodhill by BRAINTICKET album cover Studio Album, 1971
3.77 | 120 ratings

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Cottonwoodhill
Brainticket Krautrock

Review by GruvanDahlman
Prog Reviewer

2 stars I love the hammond organ. It is the instrument of choice for me. When it is distorted and thumping away or when it is soothing and relaxing, gentle and loving. It does not matter. The organ. The word alone gives me shockwaves of delight.

On the wings of the organ I can suffer much and plenty. Having said that I must admit to sort of liking Brainticket's first album. The organ is omnipresent and really distorted. "Black sand" is quite a nice track. The vocals merge together with the organ in a very scary but fascinating way. Although... The presence of organ does in fact do little to warm my heart to this kind of music.

By large it is a collection of droning, so-called mind exppanding noise and uttter fury which in my ears leave little room for shifts in moods and texture and it gives me no rest at all. This is scary stuff. It is demented, twisted and very special, I have to say. I suppose that there are similarities to bands like Faust and Can etc but unlike the latter I only feel intimidated and uneasy by Brainticket's Cottonwoodhill. It sounds to my ears like a long nightmare without an end and that is not really entertaining or enjoyable.

The plus sides of the album, to speak of those, are the sort of unique ability to create music that is dark as the darkest darkness (plus-dark, as it would read in 1984) and scary like few black metal band have ever been able to. Whle this has nothing to do with black metal, it's scaryness lies in the dark and twisted sounds and noises made. No, the album does not lack melody or structure but it is, to me, simply a long droning experience. If you like this kind of music I suppose that this would be your cup of tea but to me it is simply unintelligable, though I recognize their plight and effort. I can even appreciate them for it.

So, how to rate it? I really do not know. On the basis of the plus sides, and avoiding my own and personal view, it would be rated four stars. I will however rate it from my perspective and that leaves me no choice but to award this scary pit of dark despair two stars. To me it is an overrated piece of noodling and an exercise in droning. Sorry!

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 Celestial Ocean by BRAINTICKET album cover Studio Album, 1974
3.96 | 80 ratings

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Celestial Ocean
Brainticket Krautrock

Review by Warthur
Prog Reviewer

4 stars Brainticket's third album stepped back from the freakout direction of their debut and Psychonaut in favour of teasing out the space rock side of their sound, creating a serene but surreal journey based on the Egyptian lore of the afterlife (as recorded in the Book of the Dead). The subject matter was in vogue at the time, of course - Van der Graaf Generator did a song called The Boat of Millions of Years on a similar theme - but Brainticket execute it well and tease out the electronic possibilities they would explore further on later releases such as Adventure. I didn't rate Psychonaut particularly well but I think Brainticket have more than adequately recaptured my attention here.

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 Adventure by BRAINTICKET album cover Studio Album, 1980
3.72 | 24 ratings

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Adventure
Brainticket Krautrock

Review by Warthur
Prog Reviewer

2 stars Feeling a bit like a dry run for the rather more rich and substantial Voyage, Brainticket's Adventure finds the band reconvening after some time apart for one more jam session. With an acoustic, minimalistic approach, it's a far cry from the hyperactive tripped-out psychedelic madness of Cottonwoodhill, and whilst the world music influences are just enough to stop it getting downright boring, they aren't quite enough to make it interesting. The thing is, the likes of Popol Vuh had already covered this territory years before and already moved on and developed it further than Brainticket do here, so the album sounds dated - indeed, it'd have sound kind of unoriginal and ho-hum even if it had come out five years earlier.

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 Celestial Ocean by BRAINTICKET album cover Studio Album, 1974
3.96 | 80 ratings

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Celestial Ocean
Brainticket Krautrock

Review by shockedjazz

4 stars Yeaahhh .......this músic is incredibly left-field..........design for tripping by any means necesary...........the músic of brainticket seems to open an endless debate between Its listeners .........prog ? Psych? Too prog to be psych? Too psych to be prog?.....in my mind theres no fuss at all...this is psych made in the seventies......is not krautrock ......at least not típical krautrock........is so especificaly design for tripping without pretensions that you cant call it experimental........no experiment hére ......just mad psychedelic science gong for the one. Allready tested in some freaky mind.......no pretensions.......just a mad ensssemble pressing the right buttons.

Egyptian kings is moore groovy than hancock, as out there as pink floyds firsts, funny as hell, is a vertíable conecction between sun ra and electronic músic of the 90 .....sublime. This track worths the lp alone. Get it with out a doubt!!!!!!

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 Voyage by BRAINTICKET album cover Studio Album, 1982
4.04 | 28 ratings

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Voyage
Brainticket Krautrock

Review by Warthur
Prog Reviewer

4 stars Brainticket's Voyage, like Adventure before it, sounds like an extended jam session edited to album length, and it probably is one - Krautrock being a scene fond of such albums. This approach had fallen out of favour by the 1980s, but as far as releases in the format go this one is actually pretty good, Brainticket managing to evoke a range of moods from spacey synth- dominated sections to disorienting percussive workouts with natural transitions from one to the next and the album never bogging down in aimless noodling. Not quite as confrontational and far out as Cottonwoodhill, it's a more contemplative listen which teases out another side of the group.

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 Live in Rome, October 3, 1973 by BRAINTICKET album cover Live, 1973
3.04 | 5 ratings

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Live in Rome, October 3, 1973
Brainticket Krautrock

Review by Tom Ozric
Prog Reviewer

3 stars BRAINTICKET are considered primo, brain-frying Krautrock pioneers coming from, of all places, Switzerland. Indeed, the debut album, 'Cottonwood Hill', is a freaked-out piece of relentless Psychedelia that needs to be heard to be believed, with their 2nd album 'Psychonaut' being an improvement (or a down-step, depending on your POV) - more refined and focussed. Moving on, 'Live In Rome '73' was taken from a gig based on their 3rd album, 'Celestial Ocean', and, what we have here may be a memorable gig for sure, but the sound quality is that of a half-decent audience recorded bootleg, which tends to marr the overall enjoyment for many (myself included), but it is always a welcome listen just to hear such an obscure band in a live environment. The line-up consists of main-man Joel Vandroogenbroeck (keys, vocals, flute, sitar), Barney Palm (drums, perc. vocals, effects) and Carole Muriel (vocals, synth, zither), and, despite lacking the bottom-end 'oomph' of a bass guitar, they put on quite a good show. Highly experimental in nature, we are treated to many spacey jams and improvised segments (Intro, Jams 1, 2 and 3, Era of Technology) along with some of their more impressive and arranged tracks - Egyptian Kings is a fantastic highlight here with a great, main riff driven by synth, Muriel's ooh's and aah's and kozmik ramblings and a mighty Hammond solo from J.V. The two longer pieces - Jardins/Rainbow, and also To Another Universe/The Space Between showing off a more typically Krautrock inclination - highly acoustic parts with Palm's creative and inspired hand-percussion, uncredited guitar (?) and more of Muriel's narratives, blending into synthesised experiments and mesmerising drones powerful enough to drag the listener into their universe. Indeed, this recording is no starting place for the uninitiated, but those familiar with this highly interesting band may appreciate an all-too-rare live document, which happened to be made commercially available, even as a gatefold LP with a different cover-art. 3 stars.

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 Psychonaut by BRAINTICKET album cover Studio Album, 1972
3.77 | 92 ratings

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Psychonaut
Brainticket Krautrock

Review by Sinusoid
Prog Reviewer

2 stars The Krautrock album I've heard that makes the most arduous attempt to play it safe and check off whatever boxes it needs to. On the surface, that sounds like an okay attempt of getting into the genre, but once you've heard other (and better) albums and bands from around the same period, PSYCHONAUT is destined to get lost in the shuffle.

The jamming isn't bad (particularly the last track which reminds me of the German jazz outfit, Out of Focus), but bands like CAN or Neu could make elongated, repetitive jams work. ''Radagacuca'' takes a good long time to build with the payoff not as rewarding as it should be. The jamming here is pretty mundane and menial; I'm half asleep by the time the jam is over.

Whatever else the band tries sounds like an inferior version of Amon Duul II, ''One Fine Morning'' excluded. That arena of accessible Krautrock was about perfect on an ADII album called WOLF CITY; what we have on PSYCHONAUT is more or less watered-down and humdrum (despite this album predating the ADII one). The vocals are excruciatingly horrendous with absolutely no emotional investment in the delivery.

PSYCHONAUT is comparable to Greenslade's debut; has as many of the traits of its genre but watered-down and nonexciting. Only for diehard Krautrock fans.

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 Brainticket (CottonWoodHill)+ Psychonaut by BRAINTICKET album cover Boxset/Compilation, 2002
3.41 | 4 ratings

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Brainticket (CottonWoodHill)+ Psychonaut
Brainticket Krautrock

Review by Matti
Collaborator Neo-Prog Team

3 stars I knew nothing about this Swiss band when I borrowed this CD (available in Helsinki area) featuring their first and second albums. The leaflet had absolutely no info at all, just the original album covers. The music, as I learned by listening, is trippy, psychedelic, organ-led Krautrock with some female vocals. The debut is said to be one of the trippiest albums ever. Yeah, surely there's truth in it. It appeared to me a bit too unfocused and unstructured to really stand repeated listenings. The 13-minute final track goes pretty wild with the female voice - not singing but speaking and gradually being excited to orgastic frenzy. But overall the track is too long. The album has its intriguing moments but somehow fails to make a strong impression musically.

The follower is much better. Less trippy, more focused and also calmer and more delicate. Organ is still strongly present but also flute comes out nicely, and if I remember correctly (I haven't yet memorized the music well), many tracks have an acoustic atmosphere. The absence of information is regrettable especially with an unknown and obscure band like this, but the inclusion of two complete albums in a single disc is always a good thing. Definitely worth checking out for friends of psychedelic, vocal-included Krautrock.

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 Cottonwoodhill by BRAINTICKET album cover Studio Album, 1971
3.77 | 120 ratings

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Cottonwoodhill
Brainticket Krautrock

Review by stefro
Prog Reviewer

4 stars Producing the kind of freaked-out sounds that makes most other psychedelia seem tame and mundane in comparison, European outfit Brainticket are often bracketed under the far-reaching 'krautrock' banner, though truth be told any categorisation is missing the point. Led by Belgian flautist Joel Vandroogenbroeck and featuring members from Germany, Switzerland and Austria, Brainticket's debut 'Cottonwoodhill' was issued on the Germany Bellaphon label(home to the likes of Nektar) in 1971, encompassing a multi-coloured mixture of disparate elements ranging from ethnic folk, raga-rock, experimental sound collages, warped jazz, metallic fuzz-pop and retro-electronica. It's a decidedly mixed bag of tricks, yet a surprisingly potent one too featuring a wonderfully distinct sound that takes several listens to truly appreciate, yet appreciate you will once you have adjusted your ears to the jerky rhythms, cosmic effects and warped soundscapes that make up this singular slice of hardcore European psychedelic eclecto-rock. The trick seems to be simply a case of throwing virtually every musical idea in the pot and seeing what happens, with brazen, feedback-drenched proto-punk passages('Black Sand') melded somewhat skilfully onto grazing rock riffs('Brainticket Part 1') and occasional moments of celestial calm'(Brainticket Part 3'), only with tabla's, sitars, anaogue synths, exotic percussion, demented guitar solo's and odd, moaning vocals(if you can call them that) thrown in for extra brain-frying effect. Imagine bedroom alien-rock architects Chrome jamming with freak-folk exponents Comus whilst Kraftwerk are having an epileptic fit in the corner, and you may just get an idea of what Brainticket are about. One of those albums(and groups) that needs to be heard to (dis)believed, it doesn't get more adventurous or bizarre than this.

STEFAN TURNER, STOKE NEWINGTON, 2012

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