"Putan de Cançon" is the fourth album of the Occitan-Brazilian group. Situated close to Tom Waits, somewhere amongst the landscapes of modern blues, Moussu T et lei jouvents let their cheeky Mediterranean humour loose in a multicultural sound context. Through sophisticated instrumental breaks and a rough-hewn sound /Putan de Cançon marks a turning point in the group’s development. And with the richness and diversity of his solos, Blu confirms his position as the equal of a Marc Ribot or a Zoot Horn Rollo. So yes, in ‘Bon Baisers de Marseille’ [Love and Kisses from Marseille] we find the nonchalant rhythms of Recife and the soft touch of percussionist Jam da Silva once again. In ritornels such as ‘Comme deux mouches’, ‘Mon ouragan’ and ‘Quand je la vois, je fonds’, it’s Tatou’s laid-back quality we hear, his familiar light touch and the sweet clarity of the melodies, to be savoured like the first sip of pastis on a summer’s evening: cool and delicious. Nevertheless, some of the songs have more sombre words, where nostalgia, bitterness and even the sad disillusion that sets in from the wear and tear of time are lurking. We don’t use the term “guimbardes” for old bangers any more (in ‘Alba 7), and “we no longer take time to offer help, listen, believe, play” (‘L’horloge’) is a simple expression of calm regret we may all feel. Putan de cançon, [a helluva song] is ultimately an appeal for commitment and resistance in festive form: Moussu T e lei jouvents sing first and foremost of hope, desire, strength, enthusiasm, pleasure… and love. Just listen – and there’s no mistaking how “it makes you supple, gets you moving”…