Vic Bang makes experimental electronic music from the smallest possible materials. Working under the alias of Victoria Barca, this Buenos Aires-based artist assembles bird calls, city noise, snatched conversations and micro-melodies into compositions that feel both rigorously constructed and alive with accident. Since 2006 she has developed a practice rooted in the productive tension between the digital and the acoustic — a tension she does not try to resolve.
Artistic Practice
Vic Bang’s work operates at the blurred edge between organic and artificial sound. Her compositions begin with field recordings and everyday acoustic material — the kind of sonic residue that most producers treat as unwanted noise. From these fragments she builds structures using FM synthesis, micro-rhythmic editing and intricate sample layering. The result is music that carries a documentary quality: you can hear the city, the room, the machine, all at once.
A recurring concern in her recent work is feedback as compositional material. Rather than eliminating feedback as an artefact, she incorporates it deliberately — shaping it into rhythmic patterns and harmonic textures that sit between noise and melody. Her most recent album Oda (2023) documents this approach, using recorded acoustic instruments alongside synthesised material to explore slower tempos and what she describes as “patient sound exploration.”
Bang has spoken about the political dimension of her methodology: sampling and field recording transformed her relationship with everyday soundscapes, turning the act of listening into a form of collaboration with the environment. This is not framed as manifesto — it is embedded in the work itself.
Tools and Methods
Her studio practice centres on FM synthesis and granular processing, combined with field recording workflows that she has developed over two decades. She works with both hardware and software synthesis, treating each as producing a qualitatively different kind of sound rather than interchangeable options. The hardware dimension is particularly present in her live performances, where patch routing and real-time manipulation replace the fixed structures of studio production.
Bang’s approach to digital tools is pragmatic and non-ideological. She has stated that electronic music democratised production, making high-quality sound accessible from home studios — a development she regards as genuinely significant for artists working outside major urban production centres. Her interest in AI-adjacent tools follows the same logic: what does this make possible that wasn’t possible before, and what does it actually sound like?
Label affiliations provide a map of her technical and aesthetic affiliations: Kit Records (UK), Moon Glyph, UNTREF Aural (Buenos Aires) and the Abyss label have all released her work, situating her within both the Latin American experimental underground and international networks of curated electronic music.
Selected Works
Blop (Abyss, 2015) was her first album under the Vic Bang alias — a collection of micro-compositions built from field recordings and FM synthesis that established the core vocabulary she has continued to develop. Lira (Kit Records, UK, 2020), released on cassette format, marked a shift toward more explicit rhythmic structures while retaining the granular texture of her earlier work. The track “Whizz” from that release received attention within European experimental music contexts. Oda (2023) is her most recent full-length, incorporating acoustic instrument recordings as primary material rather than ornament.
She has also contributed remix work, including a version of “Autotel” on EC Underground, and has appeared as a speaker and workshop facilitator at Amplify DAI, where her MUTEK-adjacent practice was presented as a case study in independent production within the Latin American experimental music ecosystem.
[EMBED: Bandcamp — vicbang.bandcamp.com]
