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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.

Brainticket official website

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CottonwoodhillCottonwoodhill
Cleopatra 2013
Audio CD$8.49
$9.00 (used)
Psychonaut [Vinyl]Psychonaut [Vinyl]
Cleopatra 2011
Vinyl$10.99
$18.51 (used)
The Coloursound Box - Limited to 500 CopiesThe Coloursound Box - Limited to 500 Copies
Purple Pyramid 2015
Audio CD$55.10
Vintage Anthology 1971-1980Vintage Anthology 1971-1980
Box set
Cleopatra 2011
Audio CD$28.99
$29.99 (used)
Past, Present & FuturePast, Present & Future
Cleopatra 2015
Audio CD$9.87
$7.95 (used)
Celestial Ocean + Live In Rome 1973Celestial Ocean + Live In Rome 1973
Cleopatra 2015
Audio CD$8.99
$7.94 (used)
Live in Rome 1973Live in Rome 1973
Cleopatra 2011
Vinyl$11.99
Celestial OceanCelestial Ocean
Cleopatra 2008
Audio CD$48.05
$9.43 (used)
Alchemic UniverseAlchemic Universe
Cleopatra 2009
Audio CD$9.97
$9.49 (used)
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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)

3.79 | 160 ratings
Cottonwoodhill
1971
3.78 | 121 ratings
Psychonaut
1972
3.93 | 108 ratings
Celestial Ocean
1974
3.85 | 32 ratings
Adventure
1980
3.85 | 36 ratings
Voyage
1982
2.69 | 15 ratings
Alchemic Universe
2000
3.72 | 27 ratings
Past, Present & Future
2015

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

3.24 | 10 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)

3.47 | 6 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
3.79 | 160 ratings

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Cottonwoodhill
Brainticket Krautrock

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars There are some strange musical releases have emerged since the dawn of the recording industry but some are certainly stranger than others. It's always a fine balance, that is to find an utterly alien way of expressing oneself through the possibilities of sound and another matter completely to keep the alienating feel while adding just the right amount of elements that entice the listener to experience it unto completion. While formed in Switzerland with a diverse grouping of different European musicians, BRAINTICKET was the brainchild of Belgium born Joel Vandroogenbroeck whose study of classical and jazz went astray as the psychedelic 60s hit full force, leading him into temptation which ultimately led to the forbidden psychedelic fruit that led to his Krautrock infused band BRAINTICKET. The debut COTTONWOODHILL was famous in the psychedelic scene that the original LP sleeve carried the following warning: "After Listening to this Record, your friends may not know you anymore" and "Only listen to this once a day. Your brain might be destroyed!" While that may have been a nice gimmicky exaggeration and perhaps more true in the year 1971 when it was released, it does however portend to the listener that they are in for one demented, explorative and crazy piece of work.

By some COTTONWOODHILL is one of the trippiest records made of the era, however such claims are subjective of course depending which lysergic pastures one would graze in but unorthodox i believe is an adjective upon which everyone could agree and COTTONWOODHILL retains a distinct identity that sounds neither derivative nor copied decades after its release. It remains an utterly unique specimen tucked into myriad displays of psychedelic free form expression of the era. The album is essentially three tracks with the first two "Black Sand" and "Places Of Light" existing in a more "normal" plane of psychedelic and progressive rock that sounds like they could have even been playing on the stage of Austin Powers' warehouse in late 60s London. The tracks are surprisingly rooted in funk rock with a groovy bass, heavy drumbeat and prominent organ dominance with guitar licks adding the extra touch. While the album is filled with vocals, this isn't the normal type of vocal rock album as the vocals are never straightforward and directly sung. On the contrary they either emerge through the din of a processed electronic effect or are more commonly doled out in spoken narrative form especially by the psychotropic ranting freak outs of Dawn Muir.

While "Black Sand" is a heavy funk rocker, "Places Of Light" is light-hearted 60s sounding affair with Vandroogenbroeck cranking out pleasant flute melodies and keyboard runs. Muir begins her spoken word philosophical rants on this track and in a way the two openers are merely there to whet the appetite for the three part "Brainticket Suite" which takes up a whopping two thirds of the album and utilizes the same frantic groove for the majority of its duration. This groove is the combo effect of Vandroogenbroeck's hyperactive funk organ and the loop effect of Ron Bryer's guitar in sync with Werner Frohlich's slap bass guitar which serve as the anchoring foundation but pretty much everything else is fair game as everything from gargling water sounds, to atmospheric turbulence that sound like spaceships taking off to the seductive vocal rants of Dawn Muir come and go as the hypnotic groove creates a trancelike effect as all the accoutrements whizz on in a frantic flurry of activity. It is in effect an entertaining and skillfully crafted construction of order and chaos very much in sync with the visual imagery of the album artwork.

Upon my first experience of COTTONWOODHILL i was a little disappointed as i didn't find this as "trippy" as i had hoped it to be. There's something about the continuous and unrelenting groove loop that keeps this from taking me into the true lysergic lands of total escapism, but i have to keep reminding myself that this was 1971 when this came out and even so is still very much rooted in the 60s psychedelic scene that it was only a baby step removed from. It's better to look at this one as the mixing of not only the most psychedelic rock of the era but also of the ostinato musical elements that much of progressive rock was utilizing in order to allow various musicians to solo around. In this case, it's not the musicians who are doing the soloing but rather the sound effects, spoken word freak outs and collage of incessant swarms of noise that are the focus however the never changing groove loop with ever changing everything else is quite unsettling at first! While BRAINTICKET would continue to record with an ever changing lineup conquering new musical arenas with every release, COTTONWOODHILL sounds like no other, neither in their own canon or in any other band's for that matter. An utterly unique musical statement at the peak of psychedelic musical freedom. One that should be experienced to be believed :)

 Voyage by BRAINTICKET album cover Studio Album, 1982
3.85 | 36 ratings

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Voyage
Brainticket Krautrock

Review by Progfan97402

4 stars Warning: If you own the Purple Pyramid CD reissue of Voyage, you actually own Adventure, as both albums were accidentally swiped when reissued. So the review Im doing here goes actually to the real Voyage, which would be Adventure if you own the CD.

So, with an totally unchanged lineup of Joel Vandroogenbroeck, Barney Palm, Hans Deyssenroth, and Wilhelm Seefeldt, they recorded another album together, in February 1982. While Adventure was recorded during several sessions between May 1979 and January 1980 (and you can tell that, because music on there often had several abrupt changes), Voyage was all recorded all in one night, all improvised (it even states: "There were no rehearsals. We let the music flow out of our hands. We hope you enjoy it"). That's easy to believe, given there don't appear to be as much abrupt change as was on Adventure. To be honest, Voyage didn't quite left my mind blown the way of Adventure, but I still found it very enjoyable. At a time Duran Duran inflicted us with Rio (and that video of some lady wearing a purple plastic bag dress and the Duran Duran guys on a yacht), Joel Vandroogenbroeck seemed totally unaware of the changes, the music is still firmly in the '70s progressive electronic vein. Lots of clavinet, electric piano, Moog, with a more experimental bent than Adventure. Lots of gamelan and other percussion still used. There are some calm moments as well as some really tripped out moments. Listening to this, you'd think it came out in the late '70s. None of the keyboardists seem to come anywhere near a Prophet 5 or an OBXa, sticking to the trusted mid '70s stuff.

Bonus tracks (that is, the CD to Adventure, even though that's not the correct album), once again, of unknown origin. Joel Vandroogenbroeck, by this point, had released a ton of library music albums on Coloursound, but they weren't available to the general public (available to television, radio, and production companies interested), and only with the coming of the Internet had these albums been made aware of to the general public. None of these bonus cuts came from any of these albums. "Machinery (Analog 1970)" isn't from 1970. I'm guessing 1983 (after Voyage), sounds like Joel Vandroogenbroeck finally started including some early '80s polyphonic synths (sounds like an Oberheim OBXa) but the old '70s stuff like the clavinet are still being used. This one is more aggressive than "Skyline (Analog 1970)" (from the CD of Voyage, which is actually Adventure). "3 Worlds" is a really strange piece that goes through three changes. "Robotika" is a strange, percussive mechanical piece, appropriate for such a title.

This era of Brainticket is quite underrated. To me, this is how I wished the early '80s were like, not the era of MTV and Duran Duran. Given Joel Vandroogenbroeck was in his 40s at that time, it's obvious he had no use for stuff like that (his background was jazz, but he was open to the psychedelic and space rock scene of the early '70s, as well as world music, like gamelan), and gladly carried on like the '70s were still happening. His library albums after 1982 did show that he started adjusting to the times by including digital synthesizers (as well as the bonus cuts on both the CDs of Adventure and Voyage).

So if the review doesn't make sense, remember that the albums were accidentally switched when reissued on CD. I should know, years after I bought the CDs, I bought the original LPs, which cleared up a whole lot of confusion for me.

Really, Voyage is worth having but I felt Adventure is better.

 Adventure by BRAINTICKET album cover Studio Album, 1980
3.85 | 32 ratings

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Adventure
Brainticket Krautrock

Review by Progfan97402

5 stars Public service announcement: If you own the CD reissue of Adventure on Purple Pyramid, you're actually hearing Voyage, and that same applies to the CD of Voyage, you're actually hearing Adventure. So the review here goes to the actual album Adventure. I bought the CD of Voyage (or so I thought) in 1997, not too long after it came out, and I was certain it came out in 1976, it really had that cool mid '70s vibe going on. No year of release was included anywhere, except 1997 when the CD came out. Then I bought Adventure on CD in early 1998, and it did clearly state it was recorded between May 1979 and January 1980, so I thought Adventure came after Voyage. Wrong! Adventure came first, in 1980, Voyage next, in 1982, but the reason I thought Voyage was first was I didn't realize the mistake that those albums were accidentally switched. So in this review, pretend I'm reviewing the CD to Voyage (since those bonus cuts left me speechless). Years later I was able to acquire the original LPs of Adventure and Voyage, which totally confirmed the rumors I heard about those CDs.

After Celestial Ocean, it was pretty clear Brainticket seemed to have vanished. Joel Vandroogenbroeck put out a solo album in 1978 called Images of Flute In Nature, but in 1979, he resurrected Brainticket with Barney Palm (from the previous two Brainticket albums, Celestial Ocean and Psychonaut) with two German musicians, Hans Deyssenroth and Wilhelm Seefeldt. I really don't understand why this phase in Brainticket's career is frequently maligned. To me, I simply felt they were going the progressive electronic route, and I really feel fans of progressive electronic will get more out of it than the Krautrock wanting a Cottonwoodhill or Celestial Ocean. The album starts off with this weird electronic circus sounding stuff, then it suddenly cuts off, then there's a bunch of gamelan and strange percussion, plus the sound of some wooden rasp and a wind up toy (presumably teeth on feet), electric piano, clavinet and Moog kicks in. Here it has that very mid '70s feel (hard to believe it was recorded in 1979 and 1980!), almost like RInder & Lewis' incidental music to In Search Of... (although warning: Rinder & Lewis were associated with disco, although the incidental music on In Search Of... was clearly progressive electronic). There's amore tripped out part next, with that strange circus music appearing again. Then side two (if you own the LP, that is) starts off rather slow with strange use of noise synth filters, clavinet and electric piano, before the flute kicks in, and a great Moog solo starts, before that ends with some bizarre use of flute, and a more tripped out calm part, with electric piano, clavinet, and Moog. I really think this album is truly underappreciated, in fact it left me spellbound. When I discovered that what I was hearing was Adventure, not Voyage (because of the CD), I was more blown away this dated from 1980, not 1976. Joel Vandroogenbroeck seemed a bit resistent in going along with the times (given Joel Vandroogenbroeck was already over 40 in 1980, you can't imagine him being fond of Elvis Costello or any other new wave act of the time). At a time when "Turning Japanese" by the Vapours and the Clash's London Calling (it was released at the end of 1979, but it's more of a 1980 album) were the big thing in 1980, Brainticket releases an album that's far more in tuned with mid '70s aesthetics, even the vibe sounded so 1976 that I couldn't believe it was actually recorded between May 1979 and January 1980).

Now the CD (that is, Voyage) includes three bonus cuts. I really wished I knew where they came from. I know that throughout the 1980s and even into the 1990s, Joel Vandroogenbroeck had released a ton of library music albums on the Coloursound label. Of course, those albums weren't available to the general public, and it wasn't until the coming of the Internet that people even became aware of these albums. But it appears that these bonus cuts did not appear on any of theses albums. "Skyline (Analog 1970)" was not recorded in 1970, but sounds more in tune with Adventure (or Voyage, if you have the CD). It even sounds like the same lineup. I really like how it starts with this droning synths, the flute and clavinets kick in, before the string synths and percussion kick in, before calming back down, to the droning synth that started it. This really left me spellbound, I only wished this was available at the time it was recorded. "Underworld Paths" sounds more contemporary, like mid to late '80s, perhaps early '90s, this is one I can't totally tell when it was recorded, it could be anywhere between 1985 and 1992. By this point it's obvious Joel Vandroogenbroeck didn't have any trouble with adapting to the digital technology of the time (compared to Adventure and Voyage which were very stuck in the '70s despite their early '80s origins). There's some Native American influence, with ambient synth and slap bass. It clearly sounds like a Joel Vandroogenbroeck solo piece. "Nebula" also sounds like from the same time period but hard telling, this one's much more ambient and minimalist.

For years I had been confused by this era of Brainticket, but after buying the original LPs, the confusion is totally cleared. Really I feel this era of Brainticket is underrated and worth checking out!

 Past, Present & Future by BRAINTICKET album cover Studio Album, 2015
3.72 | 27 ratings

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Past, Present & Future
Brainticket Krautrock

Review by admireArt
Prog Reviewer

3 stars Better than any of Brainticket's last efforts but then again....

"Past, Present & Future", 2015, is by far more focused and mature and shows Joel Vandroogenbroeck's (BRAINTICKET'S mastermind) best music writing attributes as some of his unmovable influences from earlier times, when Krautrock or to be geographically accurate "SwitzRock", met the USA's Jazz/Rhythm & Blues scene and revolved, as many other countries and popular musical styles, around it.

"Dancing on the Volcano pt.2", this release longest track (21+- minutes) is full of these blast to the past kind of outdated Funky influences and sadly it is just a long jam whose scarce highlights are overshadowed by quiet cliched improvisations.

Now kind of removing this track's unmemorable aftertaste and recovering track one "Dancing on the Volcano pt.1" which is proportionaly opposite and memorable than its second part, this release will satisfy most Krautrock followers who were into this 60's & 70's eclectic synth/space-Rock/Blues-Indo/ Raga style.

As for me, this release promises so much but actually stays short of being ground breaking or really daring in its entirety. Its closeness to the "past" instead of "present or future" serves as a tribute or memorabilia but also shows clearly a void of new musical ideas.

Truly memorable and proposing as daring compositions: track one "Dancing On The Volcano Pt.1", track 7 "Singularity" and "Egyptian Gods of the Sky" track 8.

***3 PA stars.

 Past, Present & Future by BRAINTICKET album cover Studio Album, 2015
3.72 | 27 ratings

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Past, Present & Future
Brainticket Krautrock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Riding The Comet ...

Chapeau! Aged 77(!), Belgium-born keyboardist Joel Vandroogenbroeck, known as the mastermind of BRAINTICKET, risks a new attempt. Hereby he has the complete Hedersleben core at his side, speaking of Nick Garratt (guitar), Bryce Shelton (bass), Jason Willer (drums), Kyrsten Bean (vocals, guitar) and Kephera Moon (vocals, keys). This altogether will guarantee a technically skillful presence, just for the record. For those who didn't know that beforehand, Vandroogenbroeck himself is one hell of a krautrock iconic figure, highly praised for the debut album 'Cottonwoodhill' in particular, which was released in 1971.

Nearly 45 years after that the krautish attitude hasn't faded away, though overall the music is more sophisticated and accessible for sure, not that raw anymore. Thus the extended suite Dancing On The Volcano in two parts appears as a spellbinding progressive amalgam of space, electronic, jazz and funk, this on top of that presented with a proper amount of jamming over the course of thirty minutes. Especially Joel's flute performance is striking as a matter of fact. For some time my focus has been here solely ... but it actually gets better futhermore! The following seven compact songs are proving them even more inspired, varied, playful.

And then - with the final Brainticket Blues on top - we're seemingly goin' back to the roots. While deriving from the blues origin this is something hypnotic spacey, which excellently mirrors the conversion from standard Rhythm & Blues to the experimental krautrock phase around the switchover of the 1960s to the 1970s, just decorated with a few narrations provided by Kyrsten Bean. Mixed by Jürgen Engler (Die Krupps) the album truely matches your prog collection. Joel Vandroogenbroeck is on his way beyond space and time, yes, still! With 'Past, Present & Future' he has administered a very fruitfull musical collaboration where all participants are acting on eye level.

... Is There Any More Of This To Expect?

 Past, Present & Future by BRAINTICKET album cover Studio Album, 2015
3.72 | 27 ratings

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Past, Present & Future
Brainticket Krautrock

Review by Progfan97402

4 stars I just knew a new Brainticket album would come my way. After all there was the Space Rock Invasion tour that included them, Huw-Lloyd Langton (ex-Hawkwind), and Nektar, so it was time a new Brainticket album came our way. After all 15 years passed since the last one, Alchemic Universe, while welcomed by many, many did not take to well to its techno leaning. I'm happy to report with Past, Present & Future, the techno approach has thankfully been ditched, in favor of real drums, again! Members of Die Krupps, UK Sub, and Nik Turner's band, and local musicians from the Oakland, California area, are in this version of Brainticket, along with (naturally) Joel Vandroogenbroeck, now 76. The album was recorded mainly in Oakland, but also parts of it in Pinar Studio, Joel Vandroogenbroeck's home studio in Mexico (where he's resided since 1984). It's Brainticket, I hear elements of the Brainticket of old, like Cottonwoodhill, Psychonaut, and Celestial Ocean, but they don't rehash that, and bring in something new as well. I also love the production, no loudness wars that make listening a headache regardless of quality (go listen to Eloy's The Tides Return Forever or Ocean 2, great music, but that loudness war makes listening to them a headache due to unnecessary volume). Also the fact the music doesn't sound overly contemporary, but not overly retro either (I do hear both analog and digital synths). Kyrsten Bean (I believe) sounds so unbelievably like Carole Muriel you'd think it was her under an assumed name. Just one listen to "Dancing on the Volcano Part 1" or "Egyptian Gods of the Sky" and you'll see what I mean! "Dancing on the Volcano Part 2" features an extended funky jam that gives way to an ambient part, and some nice flute playing from Joel Vandroogenbroeck. "Reality of Dreams" has a more Eastern feel to it, complete with sitar. A couple cuts venture more into '70s-like prog instrumentals like "Reality of Dreams" and "Proto Alchemy", while "Egyptian Gods of the Sky" will remind you of Celestial Ocean with the spoken dialog and Egyptian theme. Then there's "Brainticket Blues" I get a kick off! Blues does Brainticket style, you will never mistake this for BB King or Muddy Waters. First you have Joel Vandroogenbroeck's flute playing. Then you have Kyrsten Bean's spoken dialog sounding like Carole Muriel, and it sounded like it was lifted right off Celestial Ocean. You obviously hear the blues style, but nothing like regular straight-up blues (which usually bores me). Usually Brainticket takes themselves seriously, but "Brainticket Blues" shows that rare not-so-serious side. To see 2015 gets started off with some this good, I'm happy to see a new Brainticket album. Just what I needed, and if you like Brainticket, this one should be in your collection.
 Past, Present & Future by BRAINTICKET album cover Studio Album, 2015
3.72 | 27 ratings

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Past, Present & Future
Brainticket Krautrock

Review by MC Strong

4 stars Fifteen long years since Alchemic Universe escaped from Planet Brainticket, finally, Joel and Co (mainly vocalist Kephera Moon, former UK Subs! axeman Nicky Garratt, drummer Jason Willer and keyboardist Jugrgen Engler) log-in with Past, Present & Future (2015). An exhausting trip of over 70 minutes, including 2-parter Dancing On The Volcano garnering an opening 30, Brainticket re-awaken the gods of Ramses via crystallised pieces of Swiss kraut-rock. Recalling intergalactic trips from heady days long gone when sitar and synths were kings (CELESTIAL OCEAN, COTTONWOODHILL, et al), Joel reaches for the stars for instrumental Reality Of Dreams, while there was an 007 feel by way of Proto Alchemy. In the mystic words of Kephera (with help from Kyrsten Bean as guest), exotica and female narration of a cinematic scale represent the retro-fried closing triumvirate of Singularity, Egyptian Gods Of The Sky and the cool Brainticket Blues. Mind over matter, with extensive listens to PP&F, BRAINTICKET will book you aboard to sit aside them before they set their sonic synths for the heart of the sun. MC Strong
 Cottonwoodhill by BRAINTICKET album cover Studio Album, 1971
3.79 | 160 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 caution 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 care, 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.

 Cottonwoodhill by BRAINTICKET album cover Studio Album, 1971
3.79 | 160 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!

 Celestial Ocean by BRAINTICKET album cover Studio Album, 1974
3.93 | 108 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.
Thanks to ProgLucky for the artist addition. and to NotAProghead for the last updates

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