Like an illusionist straight out of a Borges novella, Melingo is back, with his voice, his clarinet and his sense of drama. Listening to Anda is like enjoying a Fellini film with your eyes closed, losing yourself in a display of sound designed as a suite of baroque scenes in which each piece pulsates and destabilises us. In it, the original tango is reborn, a little as if Carlos Gardel was at the centre of a form of arty neo-rock fiction, with a gallery of characters featuring Erik Satie and Serge Gainsbourg among the spectres the Argentinian actor and poet conjures forth. Made up of tracking shots and freeze frames, Anda is the most cinematic and perhaps the most journey-like project of the Argentinian actor, poet and clarinetist, who continues to paint the pages of his own personal atlas in chiaroscuro. Anda continues along a vagabond s trail, a path first cleared with the albums Corazón & Hueso (2011) and then Linyera (2014). Melingo s tale maps an imaginary land in which a heaven-sent tramp, a sort of mystical enigma straight out of a Chagall ceiling, might interact with the Satie of Gnossienne an immutable melody which suits him down to the ground or with pre-fame Gainsbourg. This Intoxicated Man finds his own vision of pink elephants, spiders on elegant shirtfronts and bats in the attic, all expressed in the language of an Argentinian Tom Waits.