The iconoclast Daniel Melingo continues to excavate in the memory of its own origins to invent a future to the cursed tangos which innervate its thought.

The Argentinian has not ceased for 40 years to navigate between the aesthetics, and it is with this state of mind proper to the transverse embarkations that he reinvests since a long time the field of the tango, that of the underworld and the bad boys. For his new album Oasis, the final chapter of the trilogy started in 2014, he also summons the rebetiko, the music of the ghetto in Greece in the 1920s, which is not without echoing the origins of this wandering poet. And as always with Melingo, the deeper he dives, the better he brings out his retro-futuristic tango, a puzzle of pieces that reveals a self-portrait of this hallucinating visionary.