This article examines the role and potential of the digital archive project Cantos Cautivos (Captive Songs) in the climate of post-dictatorship memory and reconciliation in contemporary Chile. I argue that the site’s flexible and dynamic architecture and its approach to collecting testimonies, which is centered specifically around musical memories, contribute to a dialogic exchange with and critique of state-sponsored memory projects. Through this process, new forms of memory emerge that I describe as “intramemories” and “intermemories,” which are products of exchange both within and beyond the project’s scope. I draw on case studies of two testimonial “corpora” from two of the archive’s most prolific contributors, both of whom composed many songs in detention. With song at its methodological core, I show how this project uniquely contributes to critical conversations in contemporary archival studies around issues of geography, identity, and memory.