Malin Bång’s music is an exploration of movement and energy. She defines her musical material according to their amount of friction to create a spectrum of unpredictable and contrasting actions, ranging from the intimate and barely audible to the harsh and obstinate. In her work she often incorporates acoustic objects to explore a rich sound world and to suggest that a musical content can be shaped by anything valuable to the artistic purpose. Residing in Stockholm, Malin Bång is a founding member of the Curious Chamber Players. Her output includes music for instrumental ensembles, orchestra, electronic music based on field recordings, and instrumental performance pieces. In recent years she has specifically explored the mixed, amplified instrumental ensemble extended with acoustic objects, in collaboration with members of her ensemble. 

Her works are performed worldwide. Recent projects include the music documentary drama kudzu /the sixth phase/ for Deutschlandfunk in Köln, Huddersfield Festival, and Klang Festival in Copenhagen, the large orchestral work splinters of ebullient rebellion for Donaueschinger Musiktage 2018 (awarded the Donaueschinger Tage Orchesterpreis and the 2020 Christ Johnson Prize), and the portrait concert how long is now at Ultraschall Festival 2014. Her works have been presented by Klangforum Wien, Ensemble Recherche, Ensemble Nikel, Nadar Ensemble, and Faint Noise, during, among others, the Darmstadt Summer Courses for New Music and the Wittener Tage für Neue Musik. Bång’s accolades include the Kranichsteiner Stipendienpreis and the Malmlöf-Forssling Composition Prize, as well as an annual residency with the DAAD Berliner Künstlerprogramm. Malin Bång is a regular visiting professor at academies in Sweden and abroad and (since the autumn of 2018) a senior lecturer at the composition department of the Gothenburg Academy of Music and Drama. In 2020 she was one of the lecturers at the Darmstadt Summer Courses. 

Major works: Ljómi for 12 flutes (2006), The Curious Collection for flute / wooden salt container, contrabass clarinet / mobile phone, percussion / book about Gustav Mahler, piano / tea tin, violin 1 / beckoning cat, violin 2 / metal card holder case, cello / electric milk whipper and live electronics (2007), resilience for contrabassoon, tenor saxophone, percussion and viola (2008), Fireworks and Silverbirds for đàn tranh, đàn bầu, ten-stringed guitar and electronics (2009), skuggor, glänta, dån for mixed choir, three voices and percussion trio (2009), spine reaction for electric guitar quartet (2010), Turbid Motion for ensemble (2010), Encrusted for chamber ensemble (2010), Structures of Molten Light for amplified bass flute and bass clarinet, percussion (with radio), piano (with radio), violin and cello (2011), hyperoxic for bass flute and objects (2011), Irimi for orchestra (2012), kobushi burui for amplified tenor saxophone, amplified percussion, amplified electric guitar, amplified piano, sewing machine and electric objects (2012), purfling for amplified violin and electronics (2012), arching for amplified cello, amplified objects, hand and electronics (2013), palinode for bass flute, bass clarinet, cello and amplified objects (2013), avgår, pågår for orchestra (2014), how long is now for chamber ensemble and electronics (2014), Ripost for amplified double bass, amplified percussion and orchestra (2015), Shinai for string orchestra, four voices and two percussionists (2015), Shin-Shinai for two percussionists and string orchestra (2015), jasmonate for piccolo flute, bass clarinet, percussion / writing pad, piano inside / typewriter, tabletop guitar, violin and cello (2017), kudzu /the sixth phase/ for chamber ensemble (2017), splinters of ebullient rebellion for orchestra (2017–18), underpassing for percussion trio (2017–18), Shinai Kiai for mixed choir and percussion (2018), Shinai Hara for string orchestra, dancer using shinais, soloistic parts for concert master and three cassette tape players (2019), blooming brume for ensemble (2020).