Putan Club
Filles De Mai

François-Regis Cambuzat survives the eighties, but also the nineties.

He is an anti-rockstar; Every moan of his -at the service of the musical proposal- has a reason to exist, and nothing is left to chance, even amidst the utmost delirium. Cambuzat rejects America and the mainstream that capitalism entails;
He is a continuously fleeing Joker who has lived for years among the cities -European and not- that have offered him more inspiration.

It happens that, as L'Enfance Rouge sunsets (with his wife Chiara Locardi in formation), he dedicates himself full time to his new project even more experimental in its intentions.
A reactionary, provocative, and nomadic cell as usual, with the only rule being the will of the members to religiously adhere to what the Putan Club entails.
Cambuzat and Gianna Greco are damn serious, and for years; you can read it on their faces as they seem like true terrorists of sound.
Their artistic adventure was baptized by the poetess Lydia Lunch, originally part of the collective.
Their Industrial is more tribal than metropolitan. They have literally traveled the world enriching their repertoire with shamanic black magic (I advise you to explore the exorcist side project Ifriqiyya Electrique).

The tracks that follow one another in Filles De Mai are inspired by social struggles, like the famous Arab Spring (a fundamental event in the lives of the two musicians), feminism, and gender hate. A noise that serves as a soundtrack while the world burns and you keep on dancing. Gianna's visceral bass and François's powerful riffs, like the staccato one in Kancer, almost funk, with the omnipresent drum machine.

They state that the Putan Club is more to be frequented than listened to, and given the incredible number of concerts they organize every year in the underground circuit, I recommend taking the first step by staying updated on the dates.