The SONM Sound Art and Experimental Music Sound Library, is a publicly accessible resource – both physically and virtually, through the platform – offering access to Francisco López’s complete collection of experimental music and sound art, constituted over the last forty years through direct exchange with thousands of artists from all over the world.

It is the result of intense artistic activity, and of one of the most essential aspects of the international community of sound creators: exchange and collaboration, both in a physical and telematic sense. It is therefore a personal, subjective, partial collection focused on the global communities of creators considered “independent” or “underground”, which Francisco López has been part of since the late 1970s.

The result is an enormous variety and representation of the vast universe of sound practices in experimental music and sound art. With nearly 5000 references on cassette, vinyl, CD and DVD at the time of its official opening, this library is predominantly made up of limited editions – in many cases self-editions by the artists themselves – covering all kinds of aesthetics, movements, periods, publishing companies and sound manifestations including electronic, concrete, industrial music, noise, minimal, improvisation, soundscapes, glitch, turntablism, avant-garde, etc.

The collection is in permanent expansion with contributions of a multitude of sound artists from around the world who want their work to be properly preserved and disseminated through this sound library’s resources.

Now permanently housed in Pavilion 1 of the Cuartel de Artillería Centre in Murcia, the collection is being cataloged and digitalised for public access, both physical (in the facilities of the Centre’s Sound Library) and virtually (in the online archive of the Sound Archive).

In addition to the multiple uses as a public resource, this sound library is a dynamic base for generating all kinds of parallel activities regarding dissemination, exhibition, research and new creation. Since its creation, the sound library has had a continuous programme of concerts, installations, seminars, publications and information exchanges at an international level.

Given the extensive proportions, the extreme dynamism, endless variety and accelerated mutation and interweaving of the world community of sound artists, any such attempt is always a small “node” in that immense “noosphere” of global creation and communication. Despite this, it is our intention to position this sound library as a worldwide reference for the preservation, consultation, listening, dissemination, exchange, research and promotion of experimental music and sound art. Such a task will only be possible with the active collaboration of those who make up this global community of sound creators which is – in effect – an implicit offer of participation in this project by everyone and for everyone.