Edgardo Cantón ‎– Musiques Électroacoustiques

Moshé-Naïm ‎– MN 12 006
Vinyl, LP

Companies, etc.



Recorded between 1962 and 1970 at studios du Groupe de recherches musicales de l'ORTF.
Released circa 1985.

Printed in France
Made in France

Distribution Musidisc information is on stickers on later copies.

Barcode and Other Identifiers

  • Rights Society: SACEM SACD SDRM SGDL
  • Price Code (WEA Filipacchi Music): Ⓑ
  • Price Code (Distribution Musidisc): MU 219

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September 18, 2018
The vision of electronic music’s rise - musique concrète and synthesis, during the post-war period, has historically favoured the lens of innovators in Europe and The United States, particularly those associated with the studios like those connected to Princeton and Columbia Universities, Groupe de Recherche Musicales, The San Francisco Tape Music Center, and handful of others. While there is some justification for this, it carries the sin of neglect, not only for artists who sprang from other geographies, but of the true spirit and reality of how these sounds first entered the world. Electronic music was conceived, at least in some part, as a means to liberate the composer from the orchestra, and to introduce a new sonic language which shed the elitisms of the past - delivering advanced composition to the ears of all. It was egalitarian and cross-cultural at its core. Countless studio sprang up in every corner of the globe, and with them new culturally specific innovations, realisations, and creative conversations crossing all borders. Rediscovering this reality - how open, communicative, and international the early years of electronic music were, currently takes a great deal of work. The history has been altered and obscured, but there are breadcrumbs to be followed.
One of the most crucial of these is an LP issued by the French imprint, Moshé-Naïm, during the mid 1980s - Edgardo Cantón’s ‎Musiques Électroacoustiques. Not only is it a rare document of Latin America’s incredible, overlooked movement of avant-garde of electronic music, but, recorded at Groupe de Recherche Musicales in Paris between 1962 and 1970, is it an ever rarer proof of the lost global links that were always there. Here at Soundohm, we’ve stumbled across a few original sealed copies of this gem - a rare chance to snag an archival copy of a crucial document from electronic music’s international past. It an opportunity not to be missed.