The Benwell Project - The Cumberland Arms - Friday March 18th

The long awaited live Newcastle debut of The Benwell Project was finally here. A palpable sense of excitement was present in the air of a packed out Cumberland Arms. Would the much anticipated gig live up the considerable hype? We all hoped so.

The band opened with the anthemic 'Down The River' which had an early Biffy Clyro feel to it.This comparison, while possibly reductive, stuck with me throughout much of the gig. Some of this was undoubtedly down to lead singer Ben Fitzgerald's Scottish brogue but the similarity can be heard in several songs especially the slow burner 'Nothing More (Dancing)'. The band's songs (self-penned) encompass a variety of styles including a twisted love note to the much maligned area of Newcastle that gives the group their name and talks of 'broken glass in the flowerbeds' and 'bars on the windows' but still comes across strangely fond. There is a sadness lurking behind the confident front of the band and this is present in the lyrics and the distinctive tone of the lap-steel, played with admirable prowess by Neil McMahon. Who also adds fiddle to a number of tracks with the same ability. The band's skill in their chosen instruments shines through – testament to their high level of dedication in this field. Seth Tinsley (double bass) and Ally Stewart (drums) give the songs a driving groove that had this crowd head-nodding and foot-tapping with the best of them. The instrumentation is completed by Mark Bruce on acoustic guitar adding rhythm to the blues while complementing Fitzgerald's vocal with his own lilting tones. All the band (excepting McMahon I think) contribute backing vocals which results in some interesting harmonies. All of this assists in adding a different side which may well, in the future, lift the group to a higher profile and more recognition. Certainly when listening to 'The Anti Prayer' I was reminded of the second album Kings of Leon with it's almost gospel type feel – ironic given the title.

In summary I think I can speak for the rest of the audience when I say the hype was fulfilled to some extent and we are all eager for further gigs from the lads. Watch this space. The Benwell Project have landed.

Ryan Spendlove (new album)

Ryan Spendlove

While not native to Newcastle and her environs Mr Spendlove is a dyed in the wool Northerner and this is apparent on listening, I enjoy it when people retain some semblance of their accent with which to sing and tell their stories. It gives a gravitas and an identity that many discard. His debut album is about to land and his gentle melodies and heartfelt storytelling have a universal appeal whether Northern or not.! His voice reflects a certain mournfulness which imbues the songs with real feeling and is also fairly easy on the ear. Keep an eye on this lad and his debut album ‘Fable’.

Album available 5th April on Candyrat Records.

"Ex-Blueskins frontman Ryan Spendlove brought the evening to a close with some spellbinding, ass kicking blues, and slide guitar playing that was second to none." - YORK EVENING PRESS (Dec 2009)

for www.hohound.co.uk

The Dreamers (2003)

The Dreamers (2003)

Director Bernardo Bertolucci

“The first time I saw a movie at the cinématèque française I thought, "Only the French... only the French would house a cinema inside a palace."

The film takes place against the backdrop of the 1968 Paris student riots which were part of the widespread general discontent and action of the May period of that year including the largest general strike in French history. Our protagonist and narrator of the piece is Matthew (played by Michael Pitt), a conservatively educated modest young man who is resident in Paris to further his studies in the French culture and language. Matthew begins the film as an outsider, a loner who seeks solace and an escape from his mundane life in the city through his love of film, specifically that of classical and New Wave cinema.

Matthew sustains and feeds his obsession with film at the Cinematheque Francaise – which becomes a focal point for expression of the students’ dissatisfaction when Henri Langlois a pioneer of film preservation is relieved of his post. Matthew finds himself f caught up in a protest against this turn of events and encounters a young French woman (Eva Green) who, at first, he believes, has chained herself to the gates of the Cinema. When he asks her why has performed this act of defiance she reveals it is an illusion and she has merely put her hands through the chains. She then introduces him to her brother Theo.

The three spend the evening with each other and then find themselves caught up in the protests as they are chased by the police through the rainy streets of Paris. Matthew’s narration indicates that he has ‘fallen in love with them’ during this adventure. They then invite him into their world, beginning with dinner with their parents, one of which, their father, is a renowned poet. This first glimpse into their home life shows a little of the close, playful, almost sexual interaction with one another.

Isabella and Theo invite Matthew to stay with them in their family home while their parents are away. Together the trio explore Paris and each other, including a sprint through the Louvre in an effort to beat the time featured in French film Bande a Part. When they succeed Isabella and Theo chant “We accept him, one of us”. Onwards from this declaration Matthew becomes drawn into their intense and seemingly romantic private world. As Matthew is drawn into their sexualised intimate situation the three of them drift further and further from the outside events and the unrest taking place without them on the streets of Paris.

As the three of them spend more time in isolation Matthew witnesses the sexualised aspect of the siblings relationship. Isabella forces Theo to masturbate in front of her and Matthew. Later while the group enjoy a bath together Matthew takes Isabella’s virginity, this assures us, the audience, that Isabella and Theo’s relationship has not been fully incestuous. This consummation of Matthew and Isabella’s physical relationship brings the rising sexuality between the trio to a forefront.

This summer of escapism and exploration is coming to a conclusion of sorts. The three run out of money and when the sibling’s parents return to find the trio naked and entwined together their mother silently leaves them a cheque and removes herself from the scene. As Isabella realises the somewhat shameful relationship has been uncovered by her mother she begins to poison the sleeping boys and herself with natural gas. She and they are disturbed by a broken window and we are catapulted back out into the streets where a full scale riot against the police is taking place. Matthew tries to stop Theo from taking violent action against the police and he kisses both Theo and Isabella attempting to convince them to remain with him, to no avail. As he walks away we are forced to question just who the ‘Dreamers’ of the films title are. Of Matthew, Theo and Isabella, just which of them is it who are content to remain in a sheltered, idealised version of reality.

“A revolution isn't a gala dinner. It cannot be created like a book, a drawing or a tapestry. It cannot unfold with such elegance, tranquility and delicacy. Or such sweetness, affability. courtesy, restraint and generosity. A revolution is an uprising, a violent act by which one class overthrows another.”