Life & Work with Victoria Ferrer

Today we’d like to introduce you to Victoria Ferrer.

Hi Victoria, we’re thrilled to have a chance to learn your story today. So, before we get into specifics, maybe you can briefly walk us through how you got to where you are today?
I started making experimental music back in 2002 in Miami, where I was raised, under the name Tulip. That’s where I first fell in love with experimental music and the freedom that came with it. There was something about being able to approach sound without the typical limitations that I feel can dampen creativity. Experimental music just made sense to me, and that interest never really went away.

By the time I was living in Greenville, South Carolina, I found myself among less than a handful of people who really dared to dive deep into noise. In 2009, I started co-hosting noise events, doing live visuals for artists, running a booking gig also known as Brain Damage Productions. It was a small scene, which meant we were creating a lot of the opportunities we wanted to see ourselves. In 2011, I started DJing and hosting The Black Lodge as iamyourholiness, playing industrial, post-punk, obscure new wave, and whatever else I found interesting. I continued collaborating with a few local artists throughout the years but eventually put most of my sound work aside to focus on visual art and some larger community projects before losing myself in the mundanity of life and my “big girl job”.

When COVID hit almost a decade later, I found myself directionless and questioning my identity and path as a whole. It forced me to seriously reevaluate and reprioritize what I actually wanted out of my life. I took a few different approaches and tested the waters in different directions. I found a lot of fulfillment delving into the deeper psychological and metaphysical aspects of reality and writing about my own journey, but I couldn’t help feeling like I was still abandoning this wild, fun, experimental side of myself—the part that loves sound and wants to create from it, use it as an outlet for completely different expressions, and explore different aspects of my personality without needing all of them to make sense together.

This past year, that side of me has completely resurrected. My relationship with my partner, Branden Diven, has reawakened my love for noise. He runs the label Abhorrent After Death and everyone’s favorite noise distro, Melomania, and together we have P R U D E, our harsh noise/power electronics project that exploits suburban life beyond the facade. We just finished a Texas tour, and we’ve also been hosting a monthly noise night in Northwest Arkansas.
P R U D E has kept us incredibly busy this year: we started with a self-released demo tape, followed by the 3″ mini-CD ‘Suburban Witch Pyre’ on Abhorrent After Death, ‘Domestic Dystopia’ on Black Artifact, and, as of August 21, 2026, ‘School Spirit’ on Breaching Static. We also have releases coming out on Begin Hostilities, Hibernian Leather, and the super sought-after Fusty.

At the same time, I’ve been exploring completely different sides of sound through my other projects. My love for field recording and sound collage has expanded through my solo project MallMagick, which is also the name I perform live contemporary art pieces under. A new MallMagick release is coming out in late August on Philatélie, exploring the tension between man-made and natural sound through field recordings collected during my travels, including Prague, Germany and the South.

Later this fall, my death industrial/doom electronics project Zezijn Hexen (pronounced “Season Hexen,” a Dutch phrase meaning “They Are Witches”) will premiere ‘The Holy Eucharist of His Transcendental Love & Flesh’ on Venalism, a new and extraordinary label out of Scotland. This particular album is a metaphysical journey through death and the Kabbalistic journey of the soul; something akin to a Book of the Dead but approached through my own lens. After all, I am a mystic and shadow worker. It was only a matter of time before those subjects found their way into the more serious work that is Zezijn Hexen.

I’m also powering up to debut Syzygia, a collaborative project centered around ritualistic, improvisational live sound collage that will bring in cameos from local sound and ambient artists along the way.

But one of my favorite things about noise and experimental sound in general is the community. The amount of support I have received has been incredible. I think back to Greenville in 2009, when there were less than a handful of us willing to really dive into this stuff, and now I’m touring, releasing work through different labels, hosting noise nights again, collaborating with people I love, and constantly meeting people who are genuinely excited about experimentation and sound for the sake of sound.

I’m excited to keep growing within these genres, help grow the communities around it, introduce more people to harsh noise, and meet some of the coolest sound fanatics alive today. More than anything, I’m having fun with it again. I spent a long time feeling like I needed to figure out which direction I was supposed to take, when what I really needed was the freedom to move between all of them. Sound gives me that freedom.

We all face challenges, but looking back would you describe it as a relatively smooth road?
Definitely not… For about a decade, I was masking a lot of who I was and trying to force myself into being someone I wasn’t in order to have my family’s approval. I think I convinced myself for a while that if I could just fit into a certain version of what a successful or acceptable life was supposed to look like, I would eventually feel at home in it. I never did.

That took me pretty far away from myself, creatively and personally. A lot of the reevaluation I went through later was really about figuring out what was genuinely mine and what I had adopted because I wanted to be accepted. I’ve come a long way since then. I don’t need that approval anymore, and there’s an incredible amount of freedom in realizing that. I’m much more interested now in being honest about who I am, following what genuinely excites me, and making the work I want to make without worrying about whether everyone understands it or approves of it.

As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
I’m a multidisciplinary artist, so what I do has never fit neatly into one category. I work with sound, visual art, writing, performance, and whatever medium makes the most sense for what I’m trying to express at the time. Right now, sound is taking up a huge part of my creative life. I work across harsh noise, power electronics, death industrial, doom electronics, field recording, improvisation, and sound collage through several different projects, each one giving me a place to explore a different side of myself.

I think what I’m known for, or at least what runs through most of my work, is experimentation and a fascination with what exists beneath the surface. I’m a mystic and shadow worker with a background in philosophy and conflict resolution, so psychology, metaphysics, the occult, symbolism, identity, and the unconscious naturally find their way into what I create. Sometimes that becomes something very serious and ritualistic, like Zezijn Hexen. Sometimes it’s confrontational or satirical, like P R U D E. MallMagick lets me play with field recordings, found sound, environments, and contemporary performance, while Syzygia gives me space for improvisation and collaboration. Each one of these projects has its own sound and identity.

That’s probably also what sets me apart. I’m not particularly interested in developing one recognizable formula and repeating it. I’m more interested in allowing an idea to become whatever it needs to become. I like having the freedom to be cerebral and ridiculous, abrasive and meditative, deeply personal and completely detached. I spent too much of my life trying to make all the different parts of myself fit together in a way that other people could understand. My work is one place where I no longer feel obligated to do that.

What I’m most proud of isn’t one particular release, book, performance, or project. I’m proud that I’ve built a life where I’m creating again for me and without permission to do so. I’ve written books, made visual art, organized events, performed, toured, built community, and returned to experimental sound more than twenty years after I first fell in love with it. At this point, I’m less interested in being known for one thing than I am in continuing to experiment, evolve, and see how far I can take all of it.

We love surprises, fun facts and unexpected stories. Is there something you can share that might surprise us?
I’m a walking contradiction with a good sense of humor. I think people who encounter my work in mysticism and shadow work expect me to be incredibly serious, but then I go and make harsh noise and ridiculous art. In other words, I have a very playful side that doesn’t always make it into the things people associate with me. I can be pretty silly and completely entertained by absurdity. I can take an idea very seriously without taking myself too seriously. I’m curious about almost everything, and I like being able to move between projects, communities, ideas. Sometimes I want to investigate the mysteries of existence, and sometimes I just want to make weird shit. Both are equally me.

Pricing:

• $8 Self-Released Demo MMXXVI
• $6- 3″ Suburban Witch Pyre Mini CD

Contact Info:

• Website: https://MALLMAGICK.COM
• Instagram: https://instagram.com/mallmagick
• Youtube: @Melomania_TV
• Other: https://abhorrentafterdeath.bandcamp.com/album/suburban-witch-pyre-2

Image Credits
Images @MallMagick.
Photo of Domestic Dystopia by Black Artifact.
Photo of P R U D E live in San Antonio’s O’Death on 8/13/2026 by Nick Sanchez.