Fugazi, one of the most respected bands of the American independent music scene, recently posted almost all of its live performances online, releasing over 800 recordings made between 1987 and 2003. Such a project is atypical both by its size, rock groups being usually content to produce one or two live albums during the scope of their career, and by its perspective, Dischord Records, an independent label, thus undertaking curatorial activities usually supported by official cultural institutions such as museums, libraries and universities. This approach will be considered here both in terms of documentation, the infinite variations of the concerts contrasting with the arrested versions of the studio albums, and of the musical canon, Fugazi obviously wishing, by the constitution of this digital archive, to contribute to a parallel rock history.