Retrospective: 35 Years of “Home Improvement” with Tim “The Tool Man” Taylor By Jesse Striewski

“Does everybody know what time it is? Tool time!” Those words, initially uttered by an up-and-coming Pamela Anderson before Debbie Dunning would take over the role of “Tool Girl” on the fictitious show-within-a-show, Tool Time, would quickly find their way into American households in the ’90s, and be cemented in the pop culture zeitgeist for all of time.

Premiering on ABC on September 17, 1991, Home Improvement was a vehicle created around stand up comedian Tim Allen, who plays Tim Taylor, the host of a local Detroit fix it show (and nemesis to Bob Vila) and the bumbling head of household that includes wife Jill (Patricia Richardson) and three sons; Brad (Zachery Ty Bryan), Randy (Jonathan Taylor Thomas), and Mark (Taran Noah Smith).

Tim is known for creating more mishaps and havoc than he is his skill sets, though at the end of the day always solves the problem (even if he may be the cause of it to begin with). He’s joined by his level-headed sidekick/co-host Al (Richard Karn), who often has the foresight needed to work beside him (“I don’t think so, Tim” would become another popular catch phrase thanks to the show) and wise neighbor Wilson (played by the late Earl Hindman) that Tim often seeks advice from over his backyard fence (and as a running gag we never actually see Wilson’s full face).

A major highlight throughout the shows original run were the holiday episodes, where each Halloween or Christmas Tim would often try to outdo himself with either pranks or massive light displays that competed with neighbors, depending on the given circumstance.

The show would last throughout the majority of the decade, eventually ending on May 25, 1999, and by all accounts was one of the last great sitcoms of its kind. But it was impossible not to relate on a personal level to some degree – Tim very much felt like an extension of my own father, Terry (who’s still the ultimate handyman, and one of the strongest guys I’ve ever known to this day in my book), and I of course saw myself in a bit of all three sons – especially towards the later years when Mark began wearing all black and playing in a metal band, something I was very much echoing in my own life at the time – though now as a head of household myself, I’ve definitely feeling as though I’m more in Tim’s shoes these days indeed.

The legacy of the show is not about to going anywhere anytime soon, with rerun episodes still heavily played in syndication, and the occasional Home Improvement item popping up on store shelves over the years. (Somewhere I still have an actual board game of the show, initially released during its prime.) In more recent times, several former cast members, including Richardson, Karn, and Dunning, even made appearances on Allen’s current hit ABC show, Shifting Gears. Indeed, the Tool Man grunt will always be there for us ’90s kids, one way or another.

Series Review: The Walking Dead: Dead City Season 3 (AMC Studios/Skybound Entertainment/Vahalla Entertainment/Circle of Confusion/Schneibot)

By: Jesse Striewski

I’m really not sure why I even continue trying to convince myself that each new Walking Dead spinoff or as with this case, sequel series, will somehow improve, when each time it’s more of the same tired formula; good guys find a new home that gives them a temporary false sense of security, then bad guys (often someone from within their group these days) threaten that safety.

Dead City is really just more of the same; it starts out promising enough, but just ends up more of the same as previously mentioned. This time our hero leftovers from the original show Maggie (Lauren Cohan) and Negan (Jeffrey Dean Morgan) team up to reinforce a New York hospital with brother and sister duo Luis (Raul Castillo) and Reneta (Aimee Garcia), a doctor and “community leader,” respectively, at the helm.

There’s even an interesting, eccentric new character in the form of Dillard (Jimmi Simpson) who’s spent his time in the apocalypse in a lonesome bar with a couple of walkers, that befriends Negan. But where there’s potential, there’s more of the same, predictable developmental let down as usual.

Perhaps the only real standout of the season is the “what if,” zombie-less episode that has Maggie and Negan meeting in the pre-apocalypse real world that also features a guest spot from Maggie’s long-since deceased sister, Beth (Emily Kinney). The only downfall with this is the weak portrayal of Negan, who instead of being seen as some tough-as-nails, outlaw biker type that we all grew to hate when initially introduced, is reduced to a sensitive teacher type in order to make him more like-able to audiences prior to his going bad. (A huge misstep in my opinion.)

I’ve actually been re-watching a lot of the older Walking Dead seasons (the pre-Negan days, a.k.a. the show’s prime), and the difference is night and day, with the writing, acting, and overall quality declining more and more with each new passing season and iteration. If these characters must continue on (as I’m sure they will), perhaps the writers of these episodes could go back and take some lessons on how things were done when it was actually in good hands what now feels like a lifetime ago.

Rating: 2/5 Stars

Album Review: Airbourne – Self-Titled (Spinefarm Records)

By: Jesse Striewski

When Airbourne first emerged via Australia in the late 2000’s, I was pretty excited they might properly carry the torch for hard rock music; although it hasn’t quite always gone that way (at least not yet), I’m always happy to hear when they release new material, and their latest self-titled effort (their first album since 2019) is no exception. Seven years is plenty of time to come up with new material though, and these guys from down under indeed used that time to their advantage.

One of the first glimpses fans got of new music here was in the form of “Christmas Bonus,” a bit of silly piece, but fun nonetheless. “Kid In A Candy Store” and “Who Put The Rhythm In You” definitely invoke the band’s inner AC/DC, but it’s huge sing-a-longs/homages like “Alive After Death (Last Plane Out),” “Here She Comes,” and “Sky High” that truly deliver the goods here.

It’s also interesting to note the band recorded the album directly to tape, and on a console that also captured the likes of AC/DC and Rose Tattoo in their prime. While such things may not make or break an album per se, it does add another bit of respect for the band here. A worthy contender for any serious fans of rock music.

Rating: 3.5/5 Stars

Nicko McBrain’s Titanium Tart, Medal Militia, and Maximum Friction at The Barn in Sanford, FL on 8/29/26 Words by Jesse Striewski/Photos by Brooke Striewski

It’s been over fifteen years since the last time I’ve heard Iron Maiden’s music live back in 2011, and although I’ve since seen frontman Bruce Dickinson on his spoken word tour more recently in 2022, it felt as though it was time to finally dust off the old Eddie merch and catch longtime drummer Nicko McBrain’s latest project Titanium Tart at The Barn in Sanford, FL this past Saturday, August 29 – another amazing show brought to you by Lazer Focused Talent Agency.

Upon arrival once again with my wife/photographer Brooke, I was a bit disappointed to learn that we had missed up-and-coming metal act Maximum Friction’s set entirely. However, within minutes of walking through the door and running into an old/familiar face, Douglas (who if memory serves we hadn’t seen since an Orlando Queensryche show back in 2018), we were informed that we missed an amazing set that included a cover of Anthrax’s “Caught in a Mosh” (footage since posted online confirm this indeed).

Metallica tribute act Medal Militia were well into Black Sabbath’s “War Pigs” (there’s that song again!) by the time we fully got our bearings. Now, I’ve made my conflicted stance on tribute acts well known over the years (especially when it’s for a band that’s still active and touring like Metallica), but when you can see the passion for the material really shining through each member on stage, I tend to be more open-minded to the idea. (Bonus points that some of the members in the band are actually veterans, too…THANK YOU FOR YOUR SERVICE.) I’d be lying if I said I wanted to go out of my way to hear overplayed tracks like “Masters of Puppets” or “Enter Sandman” in any given setting most times though, but the guys were definitely spot on with their playing, and they honestly did have me fully engaged with their version of “One.”

Medal Militia performing at The Barn in Sanford, FL on 8/29/26. (Photo by Brooke Striewski)

And finally, Nicko McBrain and company took stage right around 8pm, opening with a soaring version of “The Number of the Beast.” (As soon as I heard frontman Paolo Velasquez hit that high note that was enough to make Dickinson proud, I knew we were in for one hell of an evening!) From then on it was a barrage of tracks both old and new that one’s not likely to hear at every Maiden show these days, including “Infinite Dreams,” “The Writing on the Wall,” “The Clansman,” and another Blaze Bayley-era cut (and an all-round personal favorite of mine that I had to actually record some of, complete with the monk chants in the very beginning), “Sign of the Cross.” Side thought/pet peeve of mine here, for those who like to stand in the way and shoot video for every song at shows like this these days – what are you doing with all of this footage, are you really re-watching it that much?! And doesn’t anyone like to actually just live in the moment at all anymore?!

But I digress, after another newer track in the form of “Darkest Hour,” McBrain briefly stepped out from behind his kit to engage some with the crowd. It was around this time that we were able to witness a very real Spinal Tap-ish (I never tire of using this reference!) moment when he attempted to throw something out in the crowd so high that it actually landed on the rafters, though efforts to retrieve the item with a mic and stand proved to be in vain. After a few laughs, McBrain resumed his position, and got back down to business with “Stranger in a Strange Land.”

Nicko McBrain steps out from behind his drum kit to give us the most Spinal Tap-like moment of the night at The Barn in Sanford, FL on 8/29/26. (Photo by Brooke Striewski)

“When the Wild Wind Blows” was up next before a face-melting rendition of “The Trooper” was sandwiched between it and “For the Greater Good of God.” Then finally, the one-two punch of “Rime of the Ancient Mariner” and “Hallowed Be Thy Name” closed things out for the near-dream like set list for most Maiden fans (of course there’s maybe a track or two in there I would’ve personally switched out for something else).

On a personal note, I’d be lying if I said my mind was not elsewhere for a good portion of this show, as my father was recently hospitalized the week prior to it. Looking back, I remember actually staying at his place in Ellenton all those years ago when I had gone to that previously-mentioned Iron Maiden Tampa show back in 2011, so in a way, he’s kind of been there with me for each occasion. I’ve never asked for prayers on here before, but right now certainly seems like a time we could use some, should anyone reading feel so inclined.

In Memoriam: Tim Curry (1946-2026)

By: Jesse Striewski

2026 has been a brutal year for celebrities passing. From Home Alone mom Catherine O’Hara in January, to action superstar Chuck Norris two months later, to country music icon Dolly Parton, and now, beloved actor Tim Curry, there’s been no shortage of saying “goodbye” to the many faces we grew up with.

I tried my best to recall what my initial introduction to Curry would’ve been, and if I had to guess it would likely be either 1983’s Clue or 1985’s Legend, each strong possibilities that I caught on cable as a kid, and without a doubt two of his most memorable roles (I’d wager the more likely scenario would’ve been Legend, as films such as it and The Neverending Story were high on my radar at the time).

But one thing I’m sure of, I was there alongside my family (as so many others were in those days) when Stephen King’s IT first aired as a two-part miniseries back in November of 1990. Curry menaced the screen as the clown Pennywise, and created a lasting character that still thrives until this day. (Sorry but the later versions of this still don’t hold a candle to the original in my book.)

By that point, it truly seemed as though Curry was actually everywhere you looked in cinema. When 1992’s Home Alone 2: Lost in New York came out, I can distinctly remember being there watching, as it was one of the first post-hospital films I saw while still in a wheelchair shortly after the car accident I was in earlier that year. Curry’s role as the hotel concierge helped provide some much-needed laughs at an otherwise darker time in my life.

Then of course there was his film debut, 1975’s The Rocky Horror Picture Show, something that no doubt resonated with me as an outcast during adolescence. Again, I have somewhat sentimental memories attached to this, watching it on Halloween one year alongside my very first ever, “real” girlfriend.

I can also recall going to see 1995’s Congo and 2001’s Scary Movie 2 on the big screen, two more films that in hindsight, Curry helped steal the show tremendously, the former of which may very well have been all but forgettable if not for his appearance in it. In more recent times, I found myself reading and reviewing his memoir Vagabond and getting to know and appreciate him on a much deeper level. (I did not recall him having a brief music career at one point either prior to reading.)

Of course, these are all simply my memories of him alone, and hardly even scratches the surface on Curry’s decades-long career.

Grieving for someone you may not have known on a personal level can be a foreign concept to some. But when that person played a very real role in your formative years – as I think this very tribute to Tim Curry just confirmed he very well did for me personally – then it’s easy to mourn as though we did know them in some small sort of way. I’m just one of many who will miss him dearly, and if you’ve read this far, I can only assume that you are as well. Farewell Mr. Curry.

Dokken, Hairborn, and Papa Wheelee at the Mount Dora Music Hall in Mount Dora, FL on 8/21/26 Words by Jesse Striewski/Photos by Brooke Striewski

For years now, I’ve more or less been on a mission to see every and any band live that I’ve ever cared about going all the way back to my first concert (AC/DC) in 1996. Dokken is one such band that has alluded me all this time, although I have seen numerous ex-members over the years, including original bassist Juan Croucier on stage with Ratt in 2017, guitarist George Lynch at a Daytona record shop in 2018, and classic lineup bassist Jeff Pilson on stage with Foreigner in 2024 (whom I also interviewed for Rewind It Magazine earlier that same year).

But to see founder and frontman Don Dokken on stage performing the classics was still on my to-do list, especially knowing his intentions to “slow down” after various ailments, including a spinal/neck injury that left his right hand partially paralyzed in 2019 that has limited his mobility greatly. After taking all of this into consideration, the Mrs. and I made a last minute decision to make the trek to see Don and co. at the Mount Dora Music Hall in Mount Dora, FL this past Friday, 8/21, something I think we each can say we’re glad we made the effort for now.

Upon arrival, openers Papa Wheelee – who we previously caught opening for Bret Michaels and Lita Ford back in 2018, and as far as we could tell were not listed anywhere on the flyer for this event – were already well into their set, with guitarist Sam Bittenbinder walking down the aisles playing the national anthem with his axe behind his head, at which point we knew it would be a fairly epic night. The band closed out their sets with “Mississippi Bruhaha” (hopefully I got that one right) and “Do It Anyway,” priming the crowd for surely more epic moments to come.

Papa Wheelee performing at the Mount Dora Music Hall in Mount Dora, FL on 8/21/26 (Photo by Brooke Striewski).

And then, cover act Hairborn took the stage. Now, I don’t want to come off as too harsh here – there’s definitely some talent there, namely their two guitarists. But I don’t think I’ve ever seen the energy leave the room quite so fast before, nor have I ever witnessed so much dead noise in between songs from a band before (a sure way to lose some attention spans). They actually started off well enough though, opening with Judas Priest’s “Electric Eye” before going into Motley Crue’s “Dr. Feelgood,” Y&T’s “Mean Streak” (which I was actually surprised to hear), and Sammy Hagar’s “There’s Only One Way to Rock,” but I still couldn’t help but feel like things were a bit Spinal Tap-esque here.

The group then went into a cover of “We All Die Young” from the 2001 film Rock Star, something I’ve never seen anyone else attempt before. Triumph’s “Fight the Good Fight,” Tesla’s “Modern Day Cowboy,” Iron Maiden’s “Wasted Years,” and Dio’s “Rainbow in the Dark” were all fun enough as well. But if the guys in Hairborn just worked on their onstage presence a bit more and maybe incorporate some onstage banter in between hits, they might find their fanbase grow even further.

Last but not least, Dokken finally took stage just after 10pm, and with his barstool within arms reach, it was clear this was a new era indeed. These days Don is backed by a solid band despite the absence of any and all other original members. Guitarist Jon Levin has been beside Don’s side for well over two decades now, while bassist Chris McCarvill and drummer BJ Zampa, who have each served time in House of Lords, provide a solid rhythm section.

Opening with “Kiss of Death,” the band went through “The Hunter,” “Don’t Close Your Eyes,” and “Fugitive” before Don took a seat to tell a story involving Polaroid photos regarding the origins of “Into the Fire” before launching into the 1984 track.

A drum solo from Zampa followed prior to another brief backstory on the song “Breaking the Chains” (which involved a conversation with Scorpions guitarist Rudolph Schenker while touring together back in the day), which midway through saw an unfortunate moment when Don accidentally unplugged Levin’s guitar and the crew scrambled to get it working again. (The rhythm section thankfully kept the beat going during this like the pros they are though.)

Things quickly got back on track with “Dream Warriors” (from 1987’s A Nightmare on Elm Street 3), which saw one of the biggest responses of the night from the crowd. The classic power ballad “Alone Again” was sandwiched in between newer track “Saving Grace” and ’90s-era number “Too High to Fly” before a guitar solo from Levin (which featured segments of “The End” by The Doors).

The classic sing-a-long “It’s Not Love” was up next before McCarvill was given his due with an impressive bass solo, which also segued into part of Free’s “All Right Now.” “In My Dreams” had the audience on their feet once more before “Heaven Comes Down” and finally, “Tooth and Nail,” rounded out their set for the night.

Was it a perfect show? Of course not (I’d say that’s fairly obvious at this point). But despite the current conditions (and any flaws), a Dokken show is still a show of rock royalty, one that I’m glad was finally able to be witnessed firsthand.

Dokken on stage at the Mount Dora Music Hall in Mount Dora, FL this past Friday, 8/21 (Photo by Brooke Striewski).

Album Review: The Rolling Stones: Foreign Tongues (Polydor/Capitol)

By: Jesse Striewski

Granted I gave the previous Rolling Stones effort Hackney Diamonds a so-so review upon its release in 2023, so my initial reaction to hearing they had yet another new full-length coming out was not exactly that of excitement. But not since 1994’s Voodoo Lounge (the first Stones album I ever actually “bought” on my own when it was newly released) has one of their albums made me sit up and pay so much attention.

“Rough and Twisted” kicks the album off with typical Jagger-Richards fare, though merely serves as a marker for better things to come. And indeed it does; “In the Stars” and “Jealous Lover,” the album’s two singles so far, are easily some of the best songs the band has put out in decades, and it’s a damn shame you won’t be hearing them put into rotation alongside any of their classic hits (God forbid radio stations actually support new music anymore from the bands they play. But hey, gotta save room for “Jumpin’ Jack Flash” at least a dozen times a day!)

“Divine Intervention” and “Ringing Hollow” are some more of the memorable tracks here, while “Hit Me in the Head” and bonus track “Bad Luck Hideaway” each feature previously-recorded work from late drummer Charlie Watts for likely the final time ever.

Sure, there may be a filler track or two found on it, or even some songs that perhaps linger on a little longer than they need to – but overall, Foreign Tongues is another solid effort from a band that’s long since been masters of their own craft; give it a spin if you’re as tired of hearing “Start Me Up” as I am, yet still hold an appreciation for the likes of one of rock’s greatest acts ever.

Rating: 3.5/5 Stars

All Star Jam featuring Joel Hoekstra, Terry Ilous, Steve Unger, Patrick Johansson, and more at The Barn in Sanford, FL on 8/1/26 Words By Jesse Striewski/Photos By Brooke Striewski

For as long as its existed, rock n’ roll has always provided plenty of examples of tenacity, a D.I.Y. from many of those involved, willing to go above and beyond so that the show can go on. This was on full display all-around at the show held at The Barn in Sanford, FL this past Saturday, August 1, which was fully organized thanks to an idea that developed in the mind of Karen Lazer of Lazer Focused Talent Agency after a conversation with local musician/singer Leo Lee Rocks.

Thanks to this, a first of its kind, once-in-a-blue-moon type of concert was put on by top notch musicians lead by Joel Hoekstra of Whitesnake and Trans-Siberian Orchestra (and currently Stephen Pearcy/formerly Night Ranger, among many others), who Rewind It Magazine readers may recall we last caught up with in Cassleberry back in late 2024 as part of Hoekstra/Gibbs. Joined by XYZ/former Great White singer Terry Ilous, former Metal Church/Autograph bassist Steve Unger, drummer Patrick Johansson (who has served time on stage with W.A.S.P. on more than one occasion), and at times the previously-mentioned Lee, the act didn’t even have a chance to fully practice their set together beforehand aside from the usual soundcheck.

It was also encouraging hearing that most of these guys were running on fumes that night, each having to catch their own early morning flights to make it on the stage that night. (I myself was feeling the same levels of exhaustion after having been up at 4:00am the day of, I’ll just say thanks to the actions of others.) But it is seldom not worth it to not push through it all to make it still happen, and I’m glad that all those involved could still make the memories we now all share from the experience.

Local cover act After 5 primed the crowd appropriately, opening with “Boys of Summer” by The Eagles, Blondie’s “One Way or Another,” and The Cult’s “Love Removal Machine.” But by the time the band had gotten to Foreigner’s “Jukebox Hero,” Def Leppard’s “Too Late,” and Billy Idol’s “Rebel Yell,” they were definitely speaking more of my language.

After 5 primes the crowd at The Barn this past Saturday, August 1. (Photo by Brooke Striewski)

But the real highlight came in the form of their version of “Detroit Rock City,” a personal favorite KISS track that showcased the talent of the rhythm section here for sure. More covers of AC/DC’s “T.N.T.” and “Hell’s Bells,” The Rolling Stones’ “Gimme Shelter,” and Black Sabbath’s “War Pigs” followed, yet none topped the aforementioned KISS song in my book. (I may just be a tad bias here though if I’m being honest.)

And finally, the previously-mentioned all-star lineup took the stage just after 8:00pm on Saturday night, opening with a trio of Whitesnake classics in the form of “Slide It In,” “Fool For Your Loving,” and “Love Ain’t No Stranger” prior to launching into their version of the David Coverdale-era Deep Purple hit, “Stormbringer.”

Next up, Ilous gave a heartfelt dedication to his late predecessor in Great White, Jack Russell, prior to going into the anthem “Rock Me,” one of the absolute highlights of the night. Terry’s other well-know act XYZ was represented next with “Inside Out” before Joel took over on vocals for Cream’s “Sunshine of Your Love.”

“Break on Through (to the Other Side)” by The Doors was up next before Leo Lee joined the band for a round of songs that included Deep Purple’s “Burn” and “Perfect Strangers,” as well as yet another cover of Black Sabbath’s “War Pigs.” Johansson then briefly stepped into the spotlight for a drum solo before AC/DC’s “Dirty Deeds Done Dirt Cheap” could be heard, followed by an extended (and I do mean extended!) version of Led Zepplin’s “Whole Lotta Love,” complete with a Slayer riff or two thrown in for good measure.

As if that was not all enough, the full band then regrouped on stage for Whitesnake’s “Here I Go Again” and “Still of the Night,” as well as Rainbow’s “Long Live Rock n’Roll” and AC/DC’s “Highway to Hell,” at this point with both Terry and Lee sharing lead vocals, as well as one of Hoekstra’s own guitar students, Juan (apologies I did not catch the last name), came out to take over on some leads.

XYZ/former Great White frontman Terry Ilous shares a moment with Hoekstra protege Juan on stage at The Barn this past Saturday, August 1. (Photo by Brooke Striewski)

But perhaps the most unexpected moment of them all came at the very last hour as bassist Steve Unger took over the lead vocal position for a cover of Garth Brooks’ “Friends in Low Places,” which everyone joined in for in true sing-a-long fashion. It was a fitting, epic ending, to an otherwise already epic evening.

Interview with Devon Kerr and Jason Junop of Lockhart By Jesse Striewski

Back in 2023, a little Canadian band named Lockhart first came across my radar and gave me a bit of hope again for new rock music – a rarity indeed these days – as a whole. I found myself not only reviewing their initial, self-titled EP at the time, but also picking the brain of frontman/mastermind behind the band, Devon Kerr.

Fast forward to present day, with the band dropping their debut full-length album, City Pulse. When the chance to do another interview with another band member, I once again jumped at the chance, this time opting for bassist/vocalist Jason Junop, known for his work with the likes of Cauldron and Goat Horn as well (often using the alias Jason Decay in these acts). But little did I know it would be a two-for-one affair, as said vocalist/guitarist/keyboardist Kerr would once again join in for some of the topics we discussed, too.

First and foremost, already knowing how many of the tracks on the band’s earlier EP were more or less already constructed by Kerr beforehand, I was wondering if it was more of a group effort when it came to writing/putting together the new songs, in addition to whether or not the band was physically together in the studio or not for City Pulse. Junop stated; “I would say I was a bit more involved. I did write one song and sang a little more on this one and had more input on production and such but it was still all mainly Devon. I recorded my bass and vocal parts at Welfare Sound and Muskoka Recorders up here in Muskoka.”

I couldn’t help but notice that the band appears as a five piece in the new video for the track “Can’t Shake It,” and was curious if this more or less for the sake of the video, or if it could possibly lead to future, permanent members (and if that was Thunderor/Skull Fist guitarist Jonny Nesta I saw tucked in there, too), as well as if drummer Fabio Alessandrini was on tour at the time for the shooting of their video for “City Pulse” (That features Emily Merrick in his place instead.) Kerr noted; “We used guys from the Toronto music scene to play in the music video, Jonny Nesta, and Ryan Staffa. You’re right about possibly becoming future members in a live sense at least! You’re also absolutely right about Fabio, he was out touring with Enforcer in South America during that time.” 

Existing fans may also note that three of the tracks from City Pulse (“Under Fire,” “Just Can’t Wait,” and “No Chance in Heaven”) can also be found on that first EP. Prior to hearing these new versions, I was intrigued to know if they were the same tracks as previously recorded before, or all-new versions. Kerr told me; “They’re newly recorded. We changed the key of “Under Fire,” but kept the keyboard takes for “Just Can’t Wait,” and some of the keys from “No Chance in Heaven” as an ode to the EP. We know people really enjoyed those rough cuts on the EP, so we wanted to keep some of that in there.” 

The track “Together As None” is also a slightly reworked 2018 Cauldron song, so I was wondering if it was Jason’s idea to use it as a Lockhart track, as well as if there were possibly one version he preferred over another, now that there were two unique variants of it. Junop stated; “That would depend on which band I’m playing it with. The Cauldron version suits Cauldron, and the Lockhart version suits Lockhart better. I think that was a standout track for Cauldron but almost too far in the AOR direction for what Cauldron is known for; Lockhart could take it to new places.”

Speaking of Cauldron, with it being a number of years now since we’ve received new music from them, I had to ask if there might be a chance we may see/hear something new from them anytime in the near future. Junop informed me; “We’ve been working on new songs for almost 3 years now and have almost a full record of new material put together, but we also all have kids now which takes priority and our logistics also keeps things slow. So I won’t put a date on it but it’s on the back burner.”  

As far as playing live went, I wanted to know if Lockhart had primarily played out regionally so far, and if and when there might be any upcoming plans to take the band on the road in the near future, and was actually somewhat surprised by the response given for this one; “We have not played live at all. The music is too shiny and complex to put it all together just to go play in a greasy club. If the right show comes along then we will do it.” 

And lastly, with such a vast amount of influences showing through in their music, I had to know what a dream lineup would look like if Lockhart could share the stage with any band(s) possible, past or present. Junop said matter-of-factly; “Slik Toxik, Platinum Blonde, Killer Dwarfs and Sacrifice.”

That being said, hopefully some day we’ll all be able to rock alongside Lockhart in a live setting (with or without any of the previously-mentioned dream lineup bands). Until then, be sure to grab yourself a copy of City Pulse, and crank your speakers up to ’11!’

Film Review: Evil Dead Burn (New Line Cinema/Screen Gems/Ghost House Pictures/Warner Bros. Pictures/Sony Pictures Releasing)

By: Jesse Striewski

I pretty much knew going into it what to expect from the new Evil Dead Burn; another run-of-the-mill gorefest that ups the ante each and every chance it gets. Unfortunately, this sixth entry of the long-standing Sam Raimi series does not provide much more justification for its very own existence other than just another excuse to inflict further carnage.

Right off the bat, we’re introduced to some of the most unlikable characters ever committed to screen, none of which I ever found myself sympathizing much with or caring about. Shortly after unknowingly causing an awakening of deadites at his late grandfather’s secluded lakehouse (who of course had been researching them in great detail before his death), Joseph (Hunter Doohan, one of the few recognizable faces here from Netflix’s Wednesday) and his girlfriend Thya (Luciane Buchanan) witness his brother Will (George Pullar) and wife Alice (Souheila Yacoub) bickering at their co-owned club prior to Will driving off in anger and ultimately crashing in a seemingly drunk driving incident, which of course was actually the work of a deadite (apparently Jessica from 2023’s Evil Dead Rise, played by Greta Van Den Brink – something I had to look up to even figure out.)

Fast forward to Will’s funeral, where Alice is the odd one out among her now-former, extremely miserable in-laws. Somehow no one hears as a morgue attendant is killed off and Will’s father Edgar (Erroll Shand) is attacked/infected by a resurrected Will right after the service, and they all retreat back to the lakehouse with Alice in tow as though it’s all suddenly hunky dory now. Of course all hell breaks loose here, and they each die off/become infected in their own gruesome ways. (I’ll just say the scene with the dog was an all new low point of the series in my book too.)

Every bit of cliche and predictability is thrown at the audience from then on out, with a sharp object conveniently always within arms reach to cause more damage. Aside from a jump scare or two, there’s narrowly a moment of true tension or suspense, all leading to an underwhelming climax that leaves one feeling as though they just wasted two hours of their life. (A fairly depressing experience to be honest). Every frame is filled with negativity, and I realize I may be of the minority among those in the theater with me at the time, but what’s become modern horror is not really my idea of a “good time” anymore.

I guess you could say I’ve become more conservative in my later years. But while I can still appreciate the earlier Bruce Campbell-led Evil Dead films for what they were, nowadays I prefer there to be at least some sort of real substance (Raimi’s 2009 effort Drag Me to Hell and last year’s Weapons each come to mind) behind the mayhem, not just brutal chaos for the sake of it. (Which I guess some people do enjoy.) Even the previous Rise entry felt as though it had some semblance of heart to it. (The brief cameo from Alyssa Sutherland as Ellie at the post credits was a bit of a nice touch, albeit a slightly confusing one.) The true problem with films like this though is there’s zero lasting power anymore. It serves its purpose while its here, then will quickly disappear in the void to be forgotten and not remembered for any sort of artistic value whatsoever – I know I certainly won’t feel a need to revisit this one anytime soon.

Rating: 1.5/5 Stars