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The history of Brainticket is very obscure and virtually undocumented, with their origins also being very confused, although generally thought of as a Krautrock band, Brainticket were too international and nomadic a band to be identified with any particular scene or trend.
Basically, Brainticket were born out of a 60's jazz group featuring Belgian born keyboardist Joel Vandroogenbroeck, and as history was made, Brainticket became (like many other bands) the project of a visionary talent.
The early primeral roots of Brainticket can be traced back to 1968, as the nucleus of 'Dee Dee, Barry and The Movements, with Joel Vandroogenbroeck (organ, flute), Ron Bryer (guitar), and Wolfgang Paap (drums), thought this was more typical soul-spiced jazz and pop, typical of the era, and far away from the music they were later to create, as what Brainticket would unleash was extraordinary!
HALLUCINATIONS OF REALITY
Together with a few like-minded musicians active in the South of Germany, Joel and friends inevitably gotcaught up in the fertile Krautrock scene, and like many other bands from the area, they formed an internationalcombo that drew on a wide range of influences.
Their debut COTTONWOODHILL has long been one of the most revered of psychedelic albums. Based next in Italy, a new version of Brainticket had evolved and the second album PSYCHONAUT covered a wide range of styles. It was more your typical trippy progressive in the vein of early Hawkwind, Quintessence and Group 1850, venturing on to folk territory with female lead vocals with lots of surreal imagery.
...it is a potpourri of magical music, with a style but no particular focus. ...I can almost see Brainticket all sitting in a wheat field, imagining they can hear the trees talking....
(..Alan Freeman had the right perception here!...this is really amazing! (note by Joel)
ERA OF TECHNOLOGY
So, with a virtual all-change again, Brainticket were now down to a trio and had been adopted into the italian scene. The new members, swiss percussion talent Barni Palm and american singer and multi-instrumentalist Carole Muriel took the third version of Brainticket to new genre of music. This new unconventional trio went on to record CELESTIAL OCEAN, a bizarre mystical concept based on Egyptian mythology. It's an album that saw a diversion to less rock-based but with more electronic realms, strong use of ethnic instruments (zithers, sitars, tablas etc...) and a wealth of surprises, in a two side-long suites.
CELESTIAL OCEAN is still extraordinary, and its influence can be heard in much of 80's and 90's space rock. Though different, Brainticket were still proving to be radical innovators.
OTHER ADVENTURES
After a vast silence, Brainticket eventually appeared again in 1980. This new version of the hand, who issued the albums ADVENTURE and VOYAGE, seemed to be purely a studio project. Joel and Barni had continued from Celestial Ocean together with two new members, Hans Deyssenroth and Wilhelm Seefeldt. Both wielding all sorts of analog synthesizers and other technological gadgery.
Both of these albums featured just one track per side and each involved highly experimental instrumentation in a totally instrumental music that knew few bounds, with lots of jazz and diverse ethnic influences.
ADVENTURE was aptly the more experimental of the two, with some really spooky electronic sections, whereas VOYAGE has a little more of a fusion edge. Both albums extensively featured flute, and also involved multi-tracked ethnic percussive extravaganzas from Barni Palm. As such, Brainticket were hardly a rock band anymore, but as much a synth band. Or, were they avant-garde electronic jazz?
These albums were pure innovation upon invention, and thus, in the established tradition of Brainticket, they were groundbreaking stuff.
PICTURE MUSIC
In parallel, during the late 70's through the 80's and on to the 90's, Joel Vandroogenbroeck has also fronted numerous other projects, done much solo work, as well as researching ethnic music cultures from around the world.
An outlet for releasing much of his work was the library label 'Coloursound' from Munich. Most of his best outputs are the earliest releases. Strangest of these works was the dark and disturbing electronic soundscapes of BIOMECHANOID, aptly inspired by and sporting a H.R.Giger 'Biomechanoid' painting on the cover.
BIOMECHANOID is superb dark and menacing music based mostly around electronics and effects.
The two MEDITATIONS albums were unusual for library LP's in that they had long tracks that oozed and flowed. these ventured beyond Celestial Ocean, but on a more etheral level, and related to early Deuter, Ariel Kalma, and such like, or the more unusual new-age region. His ethnic studies have resulted in other diverse albums:
BIRTH OF EARTH, LOST CONTINENTS, MESOPOTAMIA-EGYPT.
...
...those are extracts from ALAN FREEMAN's article in AUDION #37, Spring 1997 based on texts from the book "THE CRACK IN THE COSMIC EGG' by Steven and Alan Freeman, with their kind permission.
http://www.brainticket-art.com/cosmicegg.htm
