Argentinian selector and sound artist Barbarelle shares five favorites.

Barberelle is no stranger to stages, and her work as a DJ has taken her around the world, captivating audiences with her sorcerous way of threading together an array of beautiful and curious selections. Recently, those performances have taken a more theatrical turn, and that shift brought her closer to a new musical realm she hadn’t anticipated venturing into. A prismatic collection of recordings that she made in secret, and originally intended for her ears only, Celesta is out now via Estonian imprint Hidden Harmony Recordings. Fresh off the excitement of her debut release, the Buenos Aires-based sound explorer sat with me to talk about this new era in her life and shared five records from her collection that illustrate pivotal moments in her evolution as a musician and DJ.

Thank you for sending the advance of your record. It’s extraordinarily beautiful. I’ve followed your work for years as selector, DJ, and music complier and I’d love if you could share a bit about how this new era as a musician.

Of course. Entering this “musician” era is still a little strange for me because I was always seen more as a music selector, creator, and DJ. Now I’m stepping into being recognized as a musician, which is wild. Honestly, the tracks weren’t originally intended to become an album. I made them privately, just for myself. It took me 12 years of low-fi, intimate recording before I found the courage to share them publicly. It felt really vulnerable, especially because I don’t have formal training or a technical background in music.

But once I decided to stop hiding my tracks in my DJ sets and actually share them openly, everything started to shift. I sent them to a label, and three days later they said, “We want to release this as an album in March.” I was like, wow. This is a whole new chapter. I’m still getting used to calling myself a musician, but it definitely feels like the next phase in my musical journey.

Your background as a DJ and music selector is so rich. Has your musical sensibilities and taste as a selector influenced your own music? Or do they feel separate?

They’re definitely connected. As I got deeper into music research—especially ambient and experimental sounds—and started meeting and interviewing other musicians, it made me feel like, I could do this too. A lot of my influences come from the music I explore on my radio show—jazz, world music, ambient soundscapes. That introspective quality has been showing up more and more in my DJ sets.

Over the past year, I’ve shifted from long DJ sets to more performative experiences. I wanted to create something more immersive. Some of the tracks on the record were actually composed before a show in Los Angeles—I was playing at Dublab event in a garden called Tonalism, and wanted to include some of my own music. That was the first time I played my own songs live, and it felt like a natural step toward being a musician.

“I wasn’t chasing a dream of becoming a musician. This music came from a quiet, personal place.”

Performing can be really intimidating for a lot of musicians. Do you feel like being a DJ helped you become more comfortable on stage?

That’s a great question. Performing as a DJ definitely gave me a foundation—I became comfortable being in front of people. But performing live music, especially singing, is a different kind of vulnerability. Singing was something I used to hide from my parents when I was younger—it felt so personal. Now, learning to perform my own songs live is definitely a challenge, but I think my background as a DJ has cleared some of the fear. I already feel recognized in some ways, and that helps make the next step a little less daunting.

One genre label that people might use for your record is “ambient,” especially given the current resurgence of that genre. Do you feel connected to the term?

I understand why it’s categorized that way, and I’ve definitely been influenced by ambient music. But for me, discovering the genre felt liberating. I realized that I had been creating immersive sounds even before I knew what ambient music was. I was using GarageBand and recording with my computer keyboard over 12 years ago, layering field recordings and textures without thinking about genre.

So while ambient gave me a sense of belonging, I don’t want to be boxed into it. Now that this part of my life is opening up, I want the freedom to follow whatever my creativity leads me to—not just ambient or one label.

You've been a DJ, you were a huge part of compiling one of my favorite retrospective compilations—Viento Sur, and now you're releasing your own music. Do you feel like this is just the beginning of a new chapter? Or has everything been leading to this?

Honestly, this all happened really quickly—and beautifully. I wasn’t chasing a dream of becoming a musician. This music came from a quiet, personal place. I used to believe my purpose was to share other people’s music, not my own. But now I realize I’m a musician too. This shift has made me really listen to my inner compass. It feels like a new path has revealed itself, and I’m excited to explore it while still doing both—curating and creating.

Every DJ has their favorite labels from throughout history that captured a spirit of a time in place, so I imagine you were thoughtful in choosing a label to work with. How did you choose your label for your album release?

I knew from the beginning that I wanted to release this with Hidden Harmony Recordings. It felt too vulnerable to do alone—I needed support. I already knew and loved this particular label, and they’d released some Argentinian artists before, even though they’re based in Estonia. We’d had a friendly connection; they’d even sent me records. So I reached out, and three days later they said yes. It was really surprising, but the whole process has been so supportive. They gave me creative freedom, which is essential for me—I did all the art direction and visuals with the support of a team of really talented people (mostly women).

Speaking of visuals—you’re a big collector of vinyl and I’m sure care about the physicality of music. How did you approach the artwork for this record?

Visuals are a huge part of my creative expression. On my projects, I’ve always handled creative direction. So for this, I made a mood board, pulled together a team of designers and photographers I love from Argentina, and just had fun. It was really inspiring, and I’m proud of how it turned out. I feel like it represents me authentically.

I’ve love to talk about your 5 selections you brought to share. Can you share the first record you picked?

‘Ni un minuto mas de dolor’ by Travesia I discovered it during the pandemic and listened to it every day. Estela Magnone’s voice is stunning—so pure and simple, yet powerful. It reminded me how impactful simplicity can be.

Such a beautiful record, and a great start. What’s your second pick?

Broadcast’s The Noise made by People. I don’t have it on vinyl, only CD, but their music really changed my perception when I was younger. I was studying fashion in university and listening to Boards of Canada, Stereolab… then I discovered Broadcast, and it just clicked. Their way of blending jazz with experimental textures really inspired me—and Trish Keenan’s voice influenced how I think about melodies. I bought a bunch of their CDs at Other Music in NYC the day it closed.

I loved that record in college too. What about your third selection?

It’s A Love Supreme by John Coltrane. I remember the exact day I heard it—I was cat-sitting for a friend’s boyfriend in 2013 and found it in their collection. I played it and it blew my mind. That record opened up the world of jazz to me. I now own two copies—one was his, and the other I bought in LA later that same year when I DJed at an Alice Coltrane event. I needed my own copy for that moment.

What about it impacted you so deeply?

It was unlike anything I’d ever heard before. The first track hit me hard—it’s not even about being technically knowledgeable. I felt it intuitively. Later that same year, I was in New York, feeling lost about my career, and went to Ojas listening room. They were playing A Love Supreme, and I started to cry. It healed something in me. That’s the kind of power it holds.

And the fourth?

It’s Toda Cancion Será Plegaria by Litto Nebbia, Mirtha DeFilpo. I love Litto Nebbia’s work and was lucky enough to write the liner notes for a recent compilation of his. He’s always followed his own path, and this album in particular has a special, spatial feel to it. The voice of his then-partner Mirtha DeFilpo , is also beautiful—exactly the kind of vocals I’m drawn to.

Does it reflect a specific time in Argentinian music?

Not really—Litto has always been a bit of an outlier. He’s incredibly knowledgeable and curious, and this album feels more accessible than some of his others, which I love. It’s not overly polished—just genuine and rich in texture.

And what’s your fifth selection?

Brasil by João Gilberto, Maria Bethania, Gilberto Gil and Caetano Veloso. I have a big Brazilian vinyl collection, but this one is special. It’s not necessarily my favorite, but I play it often—especially in the morning. It puts me in a good mood instantly. João Gilberto is one of my all-time favorites, and this album just touches my soul.

I love your selections! Will your record be available physically and digitally?

Yes! The full album release was on March 11, and right now it’s available digitally with distribution across different parts of the world. The record is also being pressed on vinyl and will be available this Spring.