M.A.R.S. Festival 2007 (June 2007)

Date of Performance: June 9, 2007
Venue: Miramar Theaters, Milwaukee, WI, US

The First Man on M.A.R.S.

Introduction

In its maiden voyage, sequencers crapped out while bands got stopped at the border. Quite significantly, it was never on schedule and believe it or not, the doors were actually locked for at least 15 minutes beyond the start time. In other words, there was no loss of problems.

What's unbelievable is that these erroneous mistakes went unnoticed by its patrons. There was no deficit in eagerness to see the next set or any lack in praise for what had just happened. With due diligence all the way, "Big" Dave Burkowitz and his bandmate Dave Hoover "Model" II (also known as Lil' Dave, The Other Dave, or Dave the Second), scurried about to affix cymbals to the floors and provide a myriad of handshakes.

These friendlier-than-average bears were courteous for over twelve long and grueling hours. Not to mention, they put in overtime as the last band and headliner by default, Karcius, played much later than expected (they hit the stage around 11:30 PM and finished well past midnight when they were originally slated for 9:10 PM).

As Burkowitz stated to someone within earshot, "I want to make sure everybody got their nickel's worth." He did that and then some by performing quick set changes and providing endearing solo acts in the lobby as people waited for bands to set up. It was an ambitious and impressive show that well-exceeded my expectations, mainly due to its impromptu but steadfast execution.

I didn't know so many Progressive Rock bands operated around the area nor did I realize that the Unicorn Digital label had them. These were quality bands and the name of the festival was fitting. It was a true showcase of what Milwaukee and this label had to offer. Additionally, it was close to home but at the same time, out of this world.

Before I forget, I had thought I was being clever wearing my RoSfest 2007 shirt to this event. There were at least four others with this exact same plan. One, who happened to be the person who introduced Starcastle for their debut revival, had his sleeves clipped. He said he spent much time deliberating over this surgical process on his wardrobe. He felt he could do it if he was able to get a tattoo a couple years back (which, if you're wondering, is "Prog Lives" in black ink and what appeared to be red magic marker).

The only negative facet to this gala was really a positive one, and it's this: I found the format to be tiring, but that's only because they crammed so much in. There was little time for rest and a band that was initially put down to play several smaller sets was consolidated into one unnoticeable interval that ultimately wound up playing over the course of dinner.

It's seems Kurt Michael's partner had places to be, and people actually had their orders in at the local trattoria when the announcement came in. For that reason, I wasn't the only truant student over the course of this recess.

In response to the chaos, Burkowitz suggested he might have one less band in the line-up. Before he completed his sentence, I was thinking three. As they say, all work and no play makes Jack a dull boy. In this case, Jack was nimble, leapt out of the box, and more or less, sprang over the hill.

To own up to my fatigue, the only one who could be blamed for my exhaustion was me. I take the onus off them; but keep in mind, the acts were so good that I didn't want to miss one. Hence, they should probably take the heat. I'm being sarcastic, but maybe save a little for the sophomore year and work in something that's considered miss-able.

In their favor was the fact that time went fast. It wasn't long before I was under the covers and dreaming about counter-melodic expressions.

With that banter aside, there was a lot going on behind the scenes. They actually lost the ticket information and wasn't exactly sure who was supposed to be there. They didn't even have a proper schedule on display or for that matter, printed out. Seeing that I was prepared with paper, pen, and a copy of the agenda, I was asked if I wouldn't mind having mine transcribed onto a separate page. They were that disorganized.

Many bands donated their time while Burkowitz fronted much of the cost. Unfortunately, it's obvious he won't be reimbursed due to the low attendance. On the flipside, many CDs were sold out and half of the people bought the tickets at a higher-than-regular cost. This came with front row seating, exclusive access, and a goodie bag.

As the apparition told Ray Kinsella in Field of Dreams, "If you build it, they will come." With a good buzz and loyal fans, maybe the prophesy will come true next year.

In the meantime, let's recapitulate on this year's line-up:

Orphonic Orchestra

This band was very good; almost too good to be an opener. It was also gender neutral as the guitar and drums were piloted by men while the singing and bass were captained by women. This includes Kassandra (vocals), Johnny Mars (guitars, vocals), Chad Novell (keys, vocals), Desiree (bass), and Bryan Bloodsoaker (drums).

Kassandra's voice sounded fabulous in sound-check. It turns out she is classically trained and a student of opera. They were all spot on, but the bloody drumming was unusually solid. While this band was responsible for the late start, you could say the additional preparation paid off.

The most interesting aspect of the band is that they had literally no persona before and after each song. Yet, when they played, they had plenty of stage presence and charisma. This goes to show a lot in terms of a musician's pretend façade, pretense, and guise, but they did much more than going from introverted to outgoing. The phenomenon was closer to Dr. Jekyll and Mr. Hyde.

For Progressive Rock, the songs were extremely hard-hitting. Novell's keyboards and the tight compositions gave this simple outfit their glamour. George Roldan (promoter of RoSfest, who sat in at these events) said the band sounded like Brave. I also heard it mentioned that Kassandra was an American version of Marcela Bovio [of Stream Of Passion and Elfonia]. Not to mention, Novell and Mars had lots of energy and hit difficult notes, too. I would consider them a less tactful Mostly Autumn with Stream of Passion at the helm.

At one point, Mars said it was weird how they were tired from playing and still not awake yet. In some ways, this was the mantra of the festival and they dunked the fool who taunted them on his first throw.

Mars talked about how they started with a violinist who left the band. Novell joined them on keyboards, which resulted in a more complete sound. There is a reason this format of drums, bass, guitar, and keys works, and I think his contributions really ties everything together. They played a song that required the guitarist to fill-in for the part originally played with a violin. The difference was unnoticeable. Come to think of it, the disparity was negligible. Likewise, the acoustics in the theatre complemented their sound.

Altogether, Kassandra sang with honesty and emotion. The bassist was the weakest link, but helped the others stand out. She deserves a feather in her cap as she was sturdy and reliable

Orphonic Orchestra is a great name for a band and it fit; and no, that sentence is not out of order. I tend to be critical of female singers. I have often heard others contend that this tone and range is a dime a dozen, but Kassandra's voice was one of the better ones. In many ways, she is a heavy metal Dolores O' Riordan. Evanescence and Nightwish are the influences they name and they aren't too far from the mark either.

The concluding song was different from the others. As it turns out they quintessentially saved the best for last. It was catchy, accessible, but still progressive. They could have been accused of going mainstream, but it was definitely deviated from the bell curve's median. This song hit upon the punk of Green Day and Red Hot Chili Peppers at times. What's more, many operatic notes were intertwined. As they rocked out, they whipped their long hair around. This cherry bomb splattered their traits throughout the spectrum.

As for style, they wore mostly Harley Davison attire. This wasn't all for show as they were later found with helmets in their hands. Some were even seen driving away from the scene on motorcycles.

Their only failing had to do with the sound engineering. It was pristine at the beginning and got unnecessarily louder later one. Sometimes you have to leave the controls alone.

All around, I really enjoyed this act. Looking back, it wasn't that the music was complex. It was just well-executed and it came with some very strong guitar solos that reminded me of Bryan Josh (interesting last name, huh?). For an un-established band, everything had unnaturally-accurate timing. Personally, I found them impressive and others shared my opinion. I had to wonder, "Did they schedule the best band first?"

At this point in the morning, there weren't many in the crowd, but they played as if there were many. After Kassandra's set, she had to scuttle away to another gig with, if you can believe it, the Milwaukee Symphony Orchestra. If that doesn't say Progressive Rock, what does?

8.5/10

Engine of Earth

The biggest surprise was a trio that consisted of three twenty year olds. One of them was pretty much Keith Emerson reincarnated. Yes, I know he is still around, but in some cultures, the vessel precedes the spirit, and this guy had Emerson written all over him. The resemblance was more than uncanny; it was scary. This boy wonder was Dan Alexander, and he attempted the vocals of Greg Lake as well. While it was similar in its stylistic sorrow, it wasn't perfect. The other two, Casey Nieznanski on bass and Mike Kennedy on drums, sang on occasion. Combined, all three would be decent backup singers, but in general, they couldn't hold a note and would have greatly benefited from an additional person whose sole purpose was to lend his or her own voice.

Like secondary precious gems on a diamond ring, a vocalist would be a valuable asset to the package. The irony to this is that I went to confirm what I heard and Alexander quickly listed Emerson, Lake, and Palmer as his heroes. He was flabbergasted by the fact that I have chatted with Palmer in the past. While he presented Pink Floyd as another favorite, he stressed this was to be considered a distant runner-up. In every sense, he was literally gaga for ELP, which included their flamboyant and conceptual epics.

The longest song consisted of a hero named Dante in some sort of debate or battle with an articulate giant. It was hard to make out the story from all the hooting and hollering. From what I could tell it was a contest of deliberation and existence. This play-on-words could have been construed as a chapter out of Shakespeare.

By the way, I tried to narrow down the meaning to their name and the closest I came was that it had something to do with perpetual motion and the metaphysical.

That aside, these were very uniquely-talented individuals. The keyboard/singer controlled multiple organs at once, and did so chanting into a head-strapped microphone. With only three members, they had to remain awfully busy to fill in the space.

Beforehand, the bassist was seen hanging around the foyer. When I said hello, he was pensive and silent. I thought he was your average withdrawn guy; not a musician. Looking back, it appeared as if he had butterflies in his stomach. On stage, he was Mr. Cool all the way, so I considered that he might have been arrogant or standoffish. Afterwards, he made it a point to talk with me. He was shy then, and it was obvious he embodied different avatars for each of his roles.

As for their equipment, they had a vintage organ with a spine that was stripped and exposed. This cannibalized instrument complimented the framework of their music.

Aside from ELP, it was impossible for me to pinpoint their other influences. Richard Kolp (who runs the jazz fusion site, RichardKolp.com) described them as Niacin with a voice.

In regards to specific songs, I enjoyed, "City Of Fire." It would have been appropriate shoes for Godzilla to strut around in.

They offered their disc for $3. While it was well worth it, talk about starving artists who will do anything for a buck. With this crowd, it would have sold for four times that amount.

Furthermore, the singing improved in the second song whereas the drummer hit each tom tom and skin within every ten second timeframe. At one point, he dropped a stick, but in a blink of the eye, he recovered.

It was obvious these guys have received plenty of training. This was corroborated when they went into an all-out classical interlude. During this time, they were nonchalant about this abrupt exchange.

Moving forward, "Theory Of Road" was Spock's Beard done punk. The bands of the day proved to be diverse and Engines of Earth left the streak unbroken. This ditty was pleasant to hear, but extremely difficult to play. Regardless, they pulled it off.

I recently saw the latest installment to Spiderman and I couldn't help thinking at this time that the bassist, Nieznanski, was a scruffy Tobey McGuire. While he wasn't quite Venom, I could see him as Flea in the way he plucked the bass.

This early on in the show, I yawned because I was tired, but not because they tired me.

On the whole, the vocals were the weakest part. This was blatantly bad due to their advanced abilities on their instruments. Aside from singing, the rest of what they were able to do was extraordinary. For that reason, they should think about concentrating on their strengths if they want to succeed.

This makes me remember advice that routinely came from Piers Morgan of America's Got Talent. You need to capitalize on your abilities and trash your flaws. Sometimes it's an aspiration or a person who goes by the wayside. It's mean, but it's true. In a business where the cr?me de la cr?me is not enough, you have to be better. They were very young for being so polished. I would hate to see their opportunities go to waste.

Nieznanski was the speaker for the band, and in style and persona, he reminded me a little bit of William Kopecky (the sleek and mysterious super-agent artist from the band named after his last name, as well as the band Far Corner, which was scheduled to play later on in the evening).

Engines of Earth continued to surprise with a crazy drum solo. The drummer ripped off his shirt. This part was uncomfortable to watch and probably meant for a different sort of crowd (I mean high school kids or something of that nature). His approach to the sticks was so jarring here; I thought he was having a conniption. I was shocked at the amount of talent being presented this early on in the festival as there were many acts around the corner.

This is also the first of many instances where I thought, "Geez! This is better than expected," and "Burkowitz really did an unbelievable job putting this together."

To drive this point home, the festival was worth twice the price, even when you consider that I had paid more than the standard admission. There were very good drummers so far and I was to find that the pattern would continue. Each band kept bettering the next, and for a fan of ballads, lyrics, and voice, I didn't mind the fact is was mostly instrumental ahead.

Alexander got acrobatic; playing the keys with both hands as he sung. He looked back and forth to ensure his fingers did the walking in all the right places. This triggered thoughts of Jordan Rudess. Since there was no guitar, the bassist went back-to-back with the keyboardist as they played. It seemed they missed the point to this Rock n' Roll stunt, but they adopted the trick nonetheless. At this point, my cohort said Uriah Heep.

The next song "Giant's Gallery" featured a view that was obtuse. It had to do with some sort of Nazi inferno. Casey was the giant whereas the keyboard guy was Dante, and it only got stranger as it developed. Casey asked the crowd to repeat, "Oye! Oye! Oye!" and all I could think was "Oye vai!"

Suffice to say, it didn't work with the meager 12 people in attendance. Plus, it was almost like a musical. Rather than Tommy or The Wall, I would say it closer to The Nutcracker. This only reconfirmed the fact that they truly needed a singer. Parenthetically, I'm compelled to point out that their drummer looked somewhat like Shaggy.

Nieznanski proclaimed they were going to play two more, but only played one. In this two-for-one special, he hammered the bass so hard, he lost a pick. Then, the lights went on, stopping these earthly engines in their tracks. Being a participant of RoSfest (The Celebration of Lights), I thought, "Oh, no! Not again. This must be deja vu."

It seemed no encores were meant for this day due to the tight schedule. However, the fans insisted that they deliver on their promise. So, they decided to play what they considered "the end of a song."

After a couple of hookups, they dove right into what was seemingly a jam. It presented more "Oye"s. In the end, this only accounted for two more minutes with a very fun drum finish. Turning around, I could see the place had inherited a few more faces.

Taking Alexander, Kennedy, and Nieznanski aside, I learned that these three tykes were in school for paleontology, media communication, and theology, respectively. They dream of a contract with a major label and doing this full-time. I get the impression they have a lot to learn about the outside world. What the school of rock should teach you about the field of entertainment is to play for your love of music, but in general, to stay in school.

8.25/10

Aziola Cry

Believe it or not, we are confronted with an instrumental band. This one was more ambient and less temperamental than the last, or at least that's how it appeared at first.

With the inclusion of Jason Blake's Chapman Stick?, the music sounded a bit like OSI, Gordan Knot, or The Tony Levin Band. Again, the drums were steady and precise. This time they came by way of Tom Murray. Mike Milaniak's guitar, conversely, had a nice patchy tone.

When a tripod holding a cymbal fell, Lil Dave was all over it. Once the fourth layer of duct tape was ripped and pinned, Stickradt started to smack them even harder. When this occurred, I couldn't shake the popular PBS show called Red Green from my head. As you can imagine, this solution was not a permanent fix. Actually, it was more like a Band-Aid.

The guitarist's funky shoes matched the music whereas the bassist seemed more in tune with John Myung. Milaniak swung his dark materials and golden axe with fervor. As there was no introduction or breaks ? they just got on stage and started playing ? I was wondering if their set consisted of one long song. Eventually, it came to a halt and the silence was deafening.

It turns out they played a multi-piece epic called "Ghost Conversations." Basically, this came from an EP by the same name, and they played in its entirety.

The second song was much different from the first. After the prior song dominated the set, this was a very good sign. It showed that they couldn't be accused of being samey. This one on the other hand had more angst out of the gate.

You had to close your eyes to hear the Chapman Sticks?. It was difficult to hear and required all the concentration you could muster. I wasn't the only person who made this observation. I also heard it said that they seemed kind of arrogant; not talking and only playing. There wasn't even that much eye contact being shared. Either way, I enjoyed the second song immensely and appreciated the fact that they filled their slot entirely with music.

If you didn't already know, I am hard to please when it comes to instrumentals, but this band delivered.

You could say they were all action and no talk. In the third song, they took us in a new direction for the second time. The guitar and drums dominated this one as well, but the Chapman Stick? was respectable. As it's said by many bassists, you need to obtain a certain mastery of the bass to even play it, and aside from its inaudible nature, there were no perceivable flaws in his playing. Yet, if this was my final thought, I have spoken too soon, as he was featured in a wondrous solo. You could say this "was" totally necessary.

The drums were on fire late in the 2nd half, 3rd song, and 4th quarter. The themes were terrifically reprised. It's a shame this band with the indiscernible name isn't better known. By the way, they tricked us with a false ending and kept it going. It was interesting with unexpected punches and combinations until the intangible bell. The clandestine mix made it intriguing as well.

Not too much more to report on musically as the third movement was also the last.

8.5/10

Quark Quintet

This was the second female singer of the day and she goes strictly by Julie B. While B's voice was not exactly as striking as the dame from Orphonic Orchestra, it was notable nonetheless. What impressed me is that she also played the keyboards; making her a variation on Neal Morse or Steve Katsikas. Like the middle-register crooner or that other competent multi-instrumentalist, she sang with intent. Brad Klotz from the earlier duo (read on to find out about the in-betweeners) filled in for their regular drummer this one time. The quintet consisted of a Chapman Stick?, violin, drums, guitar, and the vocal-key-combo I just mentioned.

Early on in their routine, they played us a piece entitled "Unsettled." That's about all I can remember as far as the names they gave their songs.

B was quirky, comical, strung out, and odd at the same time. For example, she stated that she was the maker of much of this madness. She explained that she made them use music stands but they liked her anyway. She went on to assure us that she had some redeeming qualities.

As for the band, there was something there, but it just didn't click. It was one member too many, the compositions were over-engineered, and/or it was just too inane to be funny. In their defense, they had a brand-new guitarist who was still learning the ropes.

B joked that she wouldn't be talking about the old one. As for the new, he relied heavily on the sheet music and at times you could see him mouthing his parts, which I hate to say was a bit amateurish. It became clear that it was his first performance, and eventually the truth was mumbled and shared by B.

Backing up a step, you really have to wonder why there were stands on the stage in the first place. Also, B had power and pitch in her singing, but it was quite obvious she never took professional direction from an experienced singer or a veteran trainer. Many notes were screamed or strained. It was something I would expect from someone who thinks they are good in the car or the shower. It might have been a wee bit better than those lyrical imposters, but not by very much.

In any case, the song had its moments and they evidently had potential.

A number of songs to follow started with a soundscape. After a while, this was no longer that clever.

I liked the second to last song. In line with my previously-mentioned puzzlement, I didn't catch its name as well.

Klotz was a tenacious drummer and he helped them out by covering their mistakes with his loud and liquid sticks. Other than that, many of the soundbites and transitions could not be made out. In other words, this was not a totally fluid set.

The last song sounded like Far Corner with words. This featured dexterous drumming with sneaky taps. Some of the piano here was imposing and worked well. Don't get me wrong; B is a capable artist. She just needs the time to turn her insanity into something that's unified and buffed. She would improve immensely if she applied some WD40 to its joints.

The final piece had potential, and I liked the reprised themes. It was akin to Annie Lennox's solo work, but needed editing and expurgation to be a truly great song.

As previously mentioned, this group is too ordinary to be avant-garde, but too bizarre to be swallowed. Even their web site is hard as hell to follow.

It's as if this quintet is still coated with primer. Since they are not yet shiny, I suggest they dunk a rag in Turtle Wax, apply some elbow grease, and rub the blemishes away. Then they'll be ready to be showcased.

7.25/10

Strange Land - www.strange-land.net

This was a new band, but it consisted of others we had already seen that day. As it turns out, the lead singer, Chad Novell, played the keyboards in Orphonic Orchestra. He may have put his hair in a ponytail, but he wasn't fooling anybody. Most of us knew it was him. The remainder of this outfit consisted of the Gill/Klotz duo, only this time Gill's guitar was electric while Klotz utilized a more extensive set of drums.

After going to bed at 2 AM the night before and getting up by 9 AM for a two hour drive, I couldn't keep up with the pace of song-after-song/band-after-band. I required a short break, and as a result, I missed ten minutes from their set. It appeared that Gill and Klotz were iron man musicians and didn't mind playing whether they were on offense or defense. They were comfortable on either side of the field.

Unlike the earlier shows, they set up quick. Bands, in general, did a lot of their own rigging and these guys were fast at hooking, trapping, and gathering their cords.

Early in their set, Strange Land went into the centerpiece of their most recent album, which was entitled, "Cause and Defect."

Strange Land's package consisted of bass, keys, and drums, but it was different from Kopecky. Elements of this band reminded me of Pallas and King's X. So far, these guys were the best the festival had to offer.

With a fan blowing from behind, Novell's hair could be conceived as an elfin angel, the bringer of life, or the angel of death.

These guys were very tight and provided surprisingly good harmonies. They obviously understood the technical aspects of music and in turn, executed well. Likewise, they had an ear for what could be deemed appealing. On top of that, they were capable of changing the tempo with ease.

One song reminded me of "Mother" from Danzig (now featured on the video game Guitar Hero). They went from an inevitable crash landing to an airborne coast within seconds. All the while, they plastered the audience with some great riffs. I could also hear aspects of Testament in the mix. Whatever this song was, it was long.

By this time, I was in thought, pondering how this festival had exceeded my expectations tenfold. This band in particular increased the enumeration.

They performed the back half of the first album, Anomaly. One of their biggest fans was in the audience. They knew he'd like the next song and looking in his direction said, "John, keep it in your pants." The inside joke was crude, but it was still funny. The child in us had laughed out loud, and it could be heard throughout the theater.

The next song was bitter and filled with hate. "Sorry... Was this a Death Metal Fest?" Novell asked. At the same time, Lou Ferrigno would have thought his body wax was stolen when Gill put on a guitar painted in Incredible Hulk green. In this song, it was hard to make out the lyrics, but the underlying theme was definitely nasty. Novell enunciated each word, but it was impossible to hear what he was singing over the heavy beats. It wasn't all appalling as I really liked Klotz's drumming in this piece.

Even with the lateness, I got my fill and appreciated the balladic portions interlined with denser metals.

Around this time, Novell, the head honcho, saw me taking notes. This wise guy of sorts stated that he didn't know he was being graded. When I looked behind me, I realized I was front and center, and all by myself. The rest of the participants were too shy to take a closer seat once it was underway. I was in my own world and must have stuck out like a sore thumb. Later, when approached in the lobby, you could tell they were intent to find out if they were going to get supportive press. As for this indeterminable instance, he exclaimed, the next song counts for 65% of our grade. Lucky for them, they did well in the midterm.

As an aside, I wonder if the name comes from Robert A. Heinlein's book Stranger In A Strange Land [Yes -ed.].

Anyhow, they eventually got louder and angrier. They teetered between progressive, metal and rock, and a wall of sound. In addition, they did this abruptly cool switch between bass and keys.

Towards the end, they provided another selection from the first album (I got the impression that this one was better rehearsed). They chose a song they hadn't played in a while, but had pulled it out and worked out the kinks over the course of the last couple gigs.

The climax was called "Distorted Grandeur," and it incorporated terribly interesting melodies alongside a rhythm guitar. This was probably their all-around best song, or at the very least, it was their most practiced. You could say they were proficient with this piece as it was both played and sung well. There were lots of smooth segues in this melodic power rock. Parts of it made me think of Dream Theater's "Six Degrees of Inner Turbulence." Brilliant harmonies and changeups were bestowed upon us before the conclusive wrap up. At one point, Novell's lone voice swam in a passage a-cappella before the big finish.

In hindsight, Strange Land might not have been familiar, but it was intuitive to my ears. I vote to see this act again in forthcoming years.

8.75/10

Far Corner - www.far-corner.com

I have seen William Kopecky five times in person: twice with his band Kopecky, another two with this band Far Corner, and a third time in line to meet Chris Squire. We just happened to be at the same place in the queue, and it turns out Squire is his hero too.

I found it ironic that while people would hang around to talk to him and shake his hand, he was just like us in terms of wanting to meet an established bassist. I took this opportunity to perform an informal and impromptu interview. While you won't see the content printed anywhere, I can attest that this is an interesting man. He teaches English during the day, and practices and plays Avant-Garde in the evening.

What's interesting is that the styles he enjoys hearing and the ones he decides to play are not the same. While he follows Yes, his music is closer to Chamber Music. Likewise, it's hard to pigeonhole what he does into any particular genre, because it's very unique in nature. Some say it's Avant-Garde when others would be just as quick to call it Progressive Rock. What I can tell you is that it is intelligent, absorbing, and not like anything else.

While Kopecky controls the accelerators and brakes in his band of brothers, for the record, this baby is all Dan Maskes. Then again, Kopecky's bass is an essential part of this quartet.

Also in their company is an extraordinary drummer that makes Zoltan Csorsz appear to be sterile. Plus, they enlist a heavy metal cellist that makes this chariot a low-rider.

I am yet to get sick of their music, and this set was also a little bit different than their prior four performances, as it showcased a number of new songs.

The band was introduced by Mark Kreger (the host of Live On The Air). It appears he was the one who discovered them and got their music out there.

This was one of the more sought after and looked after bands of the day. As it turns out, they brought their A-Game. They have really matured since I have seen them last, and they were pretty darn good the last time. Their style was the most innovative of the night. Kopecky is one of the best bassists out there, and it is hard to believe he operates out of my backyard (on a similar note, Daryl Steurmer is also another Milwaukee native). This goes to prove there is nothing wrong with local talent.

William Kopecky had on his chest a 13 with a circular outline. It was like he was Prog Rock version of Mr. Fantastic; but then again, the way he played, he might have been the Human Torch.

At the onset, Kopecky used some sort of device on his strings that I have only seen used by guitarists in the past. It gave the instrument a peaceful droning sound.

The first song was like the theme music to that Halloween horror flick. You could almost feel Mike Myers several paces behind your footsteps. From the album Endangered, they played "Inhuman" to "Do You Think I'm Spooky?" To answer this somewhat rhetorical question, I provide an affirmative, "'YES!" These both came from produce that was picked earlier in the year.

Around this time, Dan Maske gave a big thanks to Kreger for helping get his band off the ground, into the hands of fans, as well as onto the stage. He says he couldn't have done it without his assistance and promotion. It was Kreger who got him into Progressive Rock, and it is he who is responsible for much of what he does.

They followed this with something else from the new album. They do this style so well; it's almost flawless. The new material was highly-developed. It's the same format of bass, keys, drums, and heavy metal cello, but with awfully good, but dreadfully different compositions. As it played, many extra faces materialized in the background.

Maske mentioned that they would attempt something where they would try to be less geeky. In the past, they have jammed with such precision; you would have thought they spent a vast amount of time rehearsing this material in the studio. Yet, it's real-time and up-to-the-minute.

He says they will try to make stuff up as they go, but it's so pristine, you have to imagine they are using some kinds of memory tricks or mnemonics. He warns us that it could be anything and it might be dangerous. He jokes with a serious tone that people may even get hurt. This jam is all a blur, but like your favorite preservative or spread, it gels.

At this point, I am thinking that Kopecky could be a movie star. He has a strange and mysterious look about him; many times made more furtive by a sinister grin. I could see him as a cool Ichabod Crane in Sleepy Hollow. With this thought, I think he is Progressive Rock's own Johnny Depp.

In this song, there are fog horns, trains, and steam whistles. The quirkiness created laughter in the audience. The giggles didn't mix well with the music. This was so astounding; I couldn't comprehend why it didn't have everyone's full attention. Some people must not have been ready for this funky and innovative avant-garde. Aside from the disorderly conduct, I was so hypnotized and tired; I just about fell asleep and passed out. This improvisational piece was just as wholesome as a written song.

They continued to play ones that were so fresh, they were still hot from the oven. The next selection was "Flim-Flam Man." Maske made mention that this was to con us into thinking they could play. If it were a scheme, I fell for it hook, line, and sinker. They provided many seasoned, sneaky notes to throw the listener off their guard. On the last note, they shoved their fingers toward the sky. This demonstrated their exceptional timing.

Kopecky changed his bass at this time. He alternated between one that was exquisitely painted with a blue moon landscape and a second that was completely jet black. For this song, he chose the latter, but for most of his work, he danced around with the more vibrant bass like a deranged werewolf. When betting on black, he emitted an eerie presence like The Silver Surfer.

While I can enjoy this style for time to time, I would really like to see Kopecky and Maske do straightforward Progressive Rock. Maske, in particular, is an excellent keyboardist along the lines of a freaky Rick Wakeman.

They went back to their second and newest album, Endangered, and performed, "Not From Around Here." This had a foreign feel about it. While it was consistent with their sound, they were still engaging as the set ensued. They were in jeopardy of stopping before the crowd was done with them. In this song, there was a Rudess-like bridge. In concordance with my earlier thoughts, this one felt like a Tim Burton-Danny Elfman collaboration. It also featured a wise and unexpected drum solo that only broke for Maske's piano.

The guy seated next to me likes strings, but watched intently anyway. This song had poignantly-tricky pauses and the thorniest of time-signatures. For that reason, I can see its appeal to those who adore another sort of genus.

Far Corner dedicated the next one to fans outside the area and took a census with raised hands. It seemed to be an equal split, which made me wonder why they didn't promote this festival in the forums. You cannot market Progressive Rock to locals. As it turns out, the bands around the area made up most of the residential fan base.

To return to the track, I'll step down from the soapbox to wrap the rest of this up?

Keeping in step with earlier developments, they chose another from Endangered to close their set. This selection was called "Creature Council." In this piece, Kopecky looked mean. The song quite literally gave me muscle spasms.

In the end, you have to wonder why artists take on more than one project. I won't look a gift horse in the mouse. If these artists hadn't, you wouldn't get both Kopecky and Far Corner. Since Kopecky came first, I am happy William Kopecky decided to join another band. Also, Maske is a mastermind whereas the drums of Craig Walkner tie it all together. Last but not least, the strings of Angela Schmidt make it more or less unique.

This quartet is a special unit. They might as well continue to do what they do as they do it well. Even with no vocals and sparse melodies, it's somehow within reach.

Maske went nuts on the keys for the last passage. He doesn't look it, but this guy is killer. As I take notes, I think I must finish writing swiftly as it appears they are almost finished. I want to give the final drops my complete focus. This dark piece is heavy metal with brighter hues mixed into a metallic broth. It's a strong and useful alloy if you ask me, and it was an idyllic piece to end on. With this, they took their bows and tried to leave.

While the crowd was small, they were forceful enough to force a delinquent encore. What we got was a song called "Fat Corner." They hadn't said, but it seemed as if it was another jam as it was meatier than the all others combined, thanks to the bass, the tone, and the "Funky Town" beat.

Kopecky saved all his tricks for this unexpected phase. He played with his thumbs and snapped the twine from behind the neck. It was cool and it indubitably proved he was a guru. These were very impressive bass skills being demonstrated here, and they would have been missed if not requested. This is what I would deem an essential encore. It may have been the best song of the night both forward and back, and the bass skills were faithfully reminiscent of Jonas Reingold.

In the fleeting seconds that remained, only now did I realize the cellist was barefoot. Far Corner is so far-out from the norm that minor details such as this are missed. As they work their magic, your senses are overwrought. They monopolize your ears with strange minutia and pleasantly-goofy stimulus. Once their songs slide down your tongue, you are left with a truly sublime aftertaste on your palette.

During the break, Willliam Kopecky asked his girlfriend if she had any money and then he split with her; not to be seen for the rest of the night. Even for someone so covert and enigmatic, he found a peculiar way to exit.

9.25/10

Dimension X - myspace.com/officialdimensionx

With two bands remaining, it's already getting late. With an exceptional series of maestros who have just left the stage, I had considered leaving. However, this band features the guy who was responsible for the event. So, you could say I stayed out of obligation. With that said, I cannot express anything bad about this band because Big Dave Burkowitz can now be considered a friend. Not to mention, most people who saw this act would realize it's not a bright idea to toy with them.

At its inception, Lil' Dave spoke in monotone from a preordained script. "We bring you adventures of time and space, and only in the future sense," he states. He speaks with the elegant and philosophical tongue of Daniel Gildenlöw, but when he moves, he walks with authority.

I notice a keyboardist that adorns an awesome technologically-advanced shirt. It contains an equalizer that is lit-up. This fixture changes, and at first I think it is a random effect from black lights. Later, I find the contraption actually works and reflects what is going on in the mix. I always appreciate it when artists bring gadgets to the stage

By the way, the two Daves are absolutely bald while the others boast long hair. It is said that it is a pre-requisite to have a clean-shaven head to be in this band, but the wives of the others won't let them cut it. I take it that rules such as these are made to be broken.

It turns out Lil' Dave was their lead singer whereas Big Dave was the bassist. They looked like ZZ Top only in looks, as their roles and responsibilities were quite different than that rockabilly pair. In either case, these two were both gracious goliaths.

As for the guitarist, he was off to the side and couldn't be seen. Later, this shy guy moved towards the center. He had many guitars laid out in a rack, but we found he spent most of his time with a white one that looked like the kind of seat warmer you would see at a sporting event.

Roughnecks showed up for the show. One guy actually wore an Ed Gein shirt if you can believe it. They were the ones who were loud and obnoxious during Far Corner's impressively-far-out act. As this set went on, they got blatantly worse and didn't seem to notice the reserved and quiet crowd that made up the majority in the bleachers.

While he didn't look the part, Lil' Dave had a very sweet and subtle voice. As they continued, the whole band proved to be remarkable. They were relatively heavy hence the need for ruffians in the audience. Regardless of the company or the volume, they never lost sight of the technical aspects.

I was worried at first that they wouldn't deliver, but they did. I can hold my own in a mosh pit, but I've learned it's smart to avoid. Moreover, I would have been in a tight spot if asked how well they performed. Ultimately, there was nothing to concern myself over since they stood and delivered. Additionally, the last guy who tried messing around during a show was tackled by aggressively-swift biker cops.

In any event, the hoods were drawn from their seat, nodding their heads to every riff. If that weren't enough, they talked loud enough to be heard and had the gall to place beer cans on the stage. I thought they would get thrown out, but the band seemed to enjoy their patronage. With their irritating bedlam evolving and devil sign's held high, they were a little much for this crowd. I would hope they'd be talked to or kept from participating in any future show.

As for Dimension X, they pulled no punches. If anything, they may have been a little repetitive. "Did I say that?" Erkel might utter. Whatever they might be, the narrative-ridden concept was monotonous, but chic nonetheless. Smoke machines accurately in synch with the sounds of dripping water was also fashionable.

Lil' Dave asks, "How long can you look into an abyss before the abyss looks back?" The goons didn't seem to mind the corn-fed cheesiness compliments of Ayreon. Actually, it seemed as if the thug closest to the stage was their number one fan. I would have to guess that his pal was number two as he followed his lead, ran up, and mimicked all of his partner's actions. In retrospect, something tells me they didn't understand the concept.

In regards to the bigger Dave, he plays with a fat skull ring on his hand and several bull nose earrings in his ears. This guy is a modern day Progressive Rock pirate if you ask me. Jack Sparrow would be impressed.

For the next song, they tuned out the drums and bass. Like most of their offerings, they built up the tension until they were ready to erupt. This was an interesting mix of metal and prog, with a heavy emphasis on the metal, but not the mindless riff-raff the troublemakers pretended it to be.

At times, their music strikes a chord with System of a Down. Themes successively returned and in parallel, smoke poured everywhere. This earned shrills from the crowd.

Troy Stetina, the guitarist, brought out a new axe after the balladic segue and with it, he seemed to slip into a more passionate pretext. This unsullied equipment had a good sound to it, too. For a band that was missing bangs and locks, this was certainly hair metal. This strenuous activity caused an aerobic stir. As a result, Lil' Dave wiped sweat from his shiny crown.

I liked how every band gave an idea of how many songs remained. These guys were no different. If anything, they were more verbose about it; giving us a blow-by-blow analysis. This common courtesy was a tad bit extraneous but welcome. It's obvious all the bands of the day had played with one another as they each shared similar smirks and mannerisms. This unit especially was so cohesive; you had to wonder if they had been assimilated into The Borg.

The next song was one that was emphasized on their MySpace site. This was metal that encouraged senseless slam dancing, which is the main reason I might not support it. Nonetheless, it was enjoyable to hear.

Incidentally, Lil' Dave looks like the guy from Lost (Episode 11); the one where they meet The Others. While both the star and artist are burly, only the TV character's vocal cords and demeanor are craggy. Lil' Dave is quite amicable in spirit and more significantly, his voice is pleasing to the ears.

I enjoyed his last passage, which he saved for the final sprint. Figuratively and literally, he crossed the finish line soaking wet; breaking the ticker tape with a flame at his tail.

Afterwards, they mentioned a dilemma with their sequencers. This might explain while Dave Hoover recited some paragraphs while a recording took care of the other parts. Personally, I found it inaudible when he wasn't the one doing the talking. To be truthful, it's advisable to do it this initially-unsavory way, because it makes more sense and its better. As for the other problems he referenced, they were only noticeable to him.

Nobody made mention of any problematic hiccups, as it appeared to be a well-executed set.

Lucky me received a limited Thank You CD, which was signed and sealed, for my assistance and interest. Maybe you too will be rewarded for your sponsorship as well. Since the Prog World is small, sometimes it doesn't take a lot to become tight with a band. I suggest you correspond and shake hands, but most importantly, show up.

Also, if you couldn't make the show or just feel as if you missed out, Dimension X will be operational within the same vicinity soon.

On June 29th, 2007, they will play nearby at Milwaukee's downtown waterfront. This affair happens to be Summerfest, and it's the world's largest music festival. If you are local, check them out. If not, come from abroad for this extensive and intense occasion. The food and fanfare alone is worth the visit.

8/10

Karcius - www.karcius.com/

This might be the band I anticipated most. Unfortunately, I had to spend some time calling friends and family; letting them know I would be out later than expected.

Technically, Karcius was supposed to be playing an hour and a half earlier than they were on stage. As a result, I lost ten minutes making phone calls that I wish I could have gotten back.

Due to their tardy commencement, a friend of mine who shared the same interest in this band had to leave before he was to see them. Beggers can't be choosers and I am happy I got to see what I got to see, because they were the highlight of the night. With Hamadryad out, these guys were the headliners by default, and they certainly deserved this designation.

Sometimes opportunities come your way in the oddest of ways. I'm sure others, all 35 of them, will be talking about Karcius for some time to come. I can undoubtedly say that I got my nickel's worth. In fact, it was one of those situations where you go in with coupons and leave being paid. While my friend literally left town before they were on, it was I who reaped the spoils. These guys commanded the stage with clout. They were a lot of fun to watch with all their gestures and gesticulations.

There were virtually no pauses. This was purely instrumental. The guitarist, Simon L'Esperance, plays in a manner similar to Roine Stolt. In a way, this band was a mutated form of The Flower Kings mainly due to the fact there was no singing or talking.

The classiest of keyboards were complemented by pretty drum solos. Mingan Sauriol and Thomas Brodeur were the athletes in this enduring tennis match. Dominique Blouin refereed with a very watchful bass.

These musicians were always colorful and diverse. At one point, L'Esperance played the guitar like a fiddle and then proceeded with quirky metal riffs. Most of the time, he was refined, but he acted couth when he had to talk. Before verbalizing his messages, he spit.

As long as we are on a Lost kick and focused on the guitarist, I cannot resist sharing that he looks like Dominic Monaghan who plays Charlie. If you're behind the times, think Meriadoc Brandybuck.

L'Esperance had a presence unlike all the other musicians that day. He used props to his advantage and moved with grace. When the smoke machine spewed incense, he stood over its vapor. Other times, he used a fan to embody Marilyn Monroe's famous moments straddling a vent. Instead of a dress, his hair and jacket undulated from the forced air. He could also be seen gliding around the stage with his guitar.

When L'Esperance did his spiel, prominent keyboards swished up and down the scales. The bassist got into the mischief as well. He hit the drums with a third stick and then hit his own strings with it.

They announced that the song they monkeyed around on was "Destiny Tunnel." The next was something called "A0418." Before anybody could ask, they explained that this was the studio where they rehearsed and they said it was a scary place.

The guitarist had difficulty speaking. As they avoided the crowds beforehand and hung around the backstage, it was apparent they weren't native speakers. As it turns out, this band came from the farthest reaches of Canada. They are from Montreal and they speak French.

L'Esperanceintroduced the keyboard and bass player, but neglected to discuss himself or the drummer. He explained how he was hot and tired, which is not something you often here from outsiders in relation to Wisconsin.

We got a brief treat from something that got some airtime in the past. "Evolution" was their radio station Prog Song that clocked in at 18 ticks past a minute. Here Brodeur presented us with L'Esperance. To increase the effect, L'Esperance stepped back into the smoke. He seemed to like it there, and that may have been the cause of his temporary heatstroke and despair. Still, nobody had been familiarized with their drummer.

L'Esperance declared that, "The next song is going to close to this MARSfest." He was direct and made no bones about it. I didn't catch the name, but it was elegant, sultry, evasive, and menacing. It was a fitting end to a lucrative and lengthy day.

This was a long song with wah wah's and a strong melodic finish. These final moments were the overall peak of the festival. I couldn't have asked for a better payoff for hanging around and waiting.

I wanted to do some meet n' greet with the band, take some snaps, get autographs, and clasp some hands, but by the time they finished it was two hours past the deadline. It didn't matter as I planned to see them any chance I get in the future.

8.75/10

Hamadryad: A No-Show (Scheduled for 10:15 PM)

The guitarist arrived early in the day. Unfortunately, the rest of the band was miles away, still trying to make their way into the country. The guitarist had a connection with the airline and had flown in the night prior. The others traveled separately and stayed behind with the equipment.

To be honest, I didn't like their set that much at RoSfest 2006, so on some level I was relieved I didn't have to sit through this again. On the other hand, I wanted to give them a second chance. It seemed this sound system and stage was better suited for bands such as them residing on their label. Deep down inside, I felt they would put on a good show and close out the night in style. I guess I will have to wait till the next time. Maybe they'll be invited back.

I talked with the guitarist and brother to Yves the drummer, Dennis Jalbert, and it seems he was keen on the fact that their RoSfest show wasn't their best appearance. He assured me that they were substantially more prepared for this festival. I must add; he was a nice guy who I would like to see succeed.

Hamadryad's guitarist showed up whereas the rest of the band didn't. He flew. They drove. It seems as if flying is the way to go unless you get separated from your party.

Rating n/a

Solo Acts

Between each set we were treated to twenty minute teasers by soloists, or in one case, a pair.

The first was the Gill/Klotz Duo. It featured an acoustic guitar and bongos. These were solid musicians. All the nonsense and riffraff were removed. It was straight ahead musicianship. It turns out that Gill was the guy warming up in the lobby before the event. Who knew this was where he was going to be playing?

It became apparent that the in-betweeners weren't going to be throwaway acts. For this reason, it was a very bright idea. Unfortunately, most people used the time to grab a drink, go to Walgreens, or talk, which was not totally out-of-the-question since it was also considered break-time.

I have to admit, I was also guilty of these diversions and pleasures, but I saw enough to get the beneficial refreshment that comes with a sip. Gill/Klotz wasn't a complete act in duration or girth, which is another reason why it was appropriate for this time and space. It allowed just enough of a distraction to pull people from the auditorium while the main act set up.

Gill made a very funny comment towards the end of his obligatory set. He said, "I'm Sean of Strange Land. You'll see more of me. You'll get sick of me." Honestly, I liked his shtick and only enjoyed his stuff more as the day went on.

The second solo act I saw was a woman who went as Julie B and nothing more. She gave us original songs that were well-performed. I liked her song about sculptures most.

In the evening, I talked with Gill and Klotz as Julie B played on. Gill was thankful for the patronage whereas Klotz was humble about his skills. I realized it might be offensive to talk through an entire artist's set, so I stayed on and observed a few songs from B. She stated that these were all original. It became apparent that she was a seasoned songwriter and singer. It wasn't the ideal setting for her nor was she Billy Joel, but the music was melodic while her voice was crisp. Even here she took her duties very serious.

It might pay to loosen up, but she's doing something right. As they say, if it ain't broke, don't try to fix it. In time, I'll look for more from this anonymous and acronymic artist.

Due to my own personal breaks, I didn't see Sean Gill on his own and I was completely absent from Kurt Michaels' set, who commandeered the stage during dinner.

8/10

Conclusion

This festival may not be for general consumption, but I was under the impression that most bands played for free. As for us, the patrons, we were treated like kings for a day. This also goes to prove that Unicorn Digital has a lot of good bands on their label. Moreover, every musician was available and approachable to the herd. In an era where artists strive to be big shots, luminaries, or divas, this civility and respect for the average fan, was most uncommon.

I liked the format of the show, but there needs to be a better way to inform people when the next show will start and stop. Everything was out of whack or out of sequence. Nothing adhered to the schedule. In some cases, an act was hours off from when they were scheduled to play. Some leeway is expected for a first annual jubilee, but this took the cake as nothing was even close.

Unicorn Digital might be an underdog. When "Balboa" Burkowitz jumped into the ring of festival contention, he risked exiting in a stretcher, or worse, going out mangled and embarrassed. Instead, we got the alternate ending where he won by split decision and became Milwaukee's Best. He basically left the arena as The People's Champion.

This was one small leap for Dave Burkowitz, but a giant leap for Progressive Rock. All in all, the attendance was sad, but this goes to show, "Prog Lives!"

While the numbers were low, it sounds as if they will give it another go next year. I provide two reasons to attend:

1) If you truly love the music, you need to support these sorts of upstarts.

2) If you don't go, you will be missing out on a tremendous experience.

It may appear as if bands will continue to revive Progressive Rock, but I feel as if the genre faces a crisis. There may or may not be another wave or generation after this critical battle.

If we keep it going now, it will grow exponentially from our nurturing. If we don't, it may cease to exist. Any way you slice it, Saturday, June 8th, 2007, was the date that Burkowitz was both Super Dave and The Big Lebowski for a day. However this may unfold, he deserves a pat on the back and platter full of kudos for his valor, ambitions, and steady nerves.

Besides, if you haven't had an Oakland Gyro, you haven't tasted heaven, and conveniently, the eatery is right across the street. So do us all a favor and attend MARSfest 2008.

9/10

--

This article is not exclusive because the concert was great, but the vitals were dire. I must do what I can to revive this initiative. For this reason, you will see this festival review posted in numerous places. Provide a link to others or post your own copy; to help spread the vibe. Also, if you can, come to next year's show.

[In the time since this was published, many of the bands mention have called it quits. Some may have as well, but as their online home is still active, and it is for they we have links -ed. 2015]