The Sound Archive of Experimental Music and Sound Art, SONM, has been created as a public access resource -both physical and virtual online- with my entire collection of experimental music and sound art, gathered over the past thirty years of direct exchange with thousands of sound artists worldwide.
This sound archive is not the result of a collector’s accumulation (I am not a collector) but is instead the consequence of an intense activity as an artist, and also of one of the most fundamental features of the international community of sound artists: the exchange and collaboration, both physical and telematic. The archive is thus a personal collection, subjective, partial, and particularly focused on the global communities of so-called “independent” or “underground” artists, which I am part of since the late 70s.
In spite of this, however, since my sonic and pesonal interests have always been very wide, the natural result in the collection is a large variety and representation of the inmense universe of sound practices in experimental music and sound art. With nearly 5,000 items on cassette, vinyl, CD, and DVD, at the time of its offical opening, this sound archive is predominantly composed of very small editions -in many cases self-editions by the artists themselves- encompassing all kinds of aesthetics, movements, periods, labels, and sonic manifestations: electronic, concrete, industrial, noise, minimal, improvisation, soundscapes, glitch, turntablism, avant-garde, etc.
Furthermore, the collection is in constant expansion with all the sound materials I personally receive and with the contributions of a myriad sound artists worldwide that want their work to be adequately preserved and promoted with the resources of this sound archive.
Hosted now permanently at the Puertas de Castilla Center in Murcia (Spain) the sound archive is now being cataloged and digitalized for both the physical and online public access (at the Center in Murcia and in the sound archive’s website/database).