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Musical hauntology examines the functioning of memory and the place of sound recording in this process. The use of a scholarship cultural reference (Derrida) for a popular experimental musical current is noteworthy. It brings together musicians from different horizons, linked not by common sound aesthetics but by a founding philosophical questioning. In this way, the musical anthology exemplifies the crumbling of boundaries between aesthetic genres, but also between different cultural spheres (scholarly/popular). In a final nostalgic gesture, it celebrates the end of the “indicial parenthesis” of analog media.