She edited four studio albums , featuring guests such as Gabo Ferro, Fernando Kabusacki and more argentinean artists, including cumbia-rap artist Miss Bolivia, with whom she’s working as a backing vocalist since 2009.

Defines herself as a feminist under construction. Given her interest in gender issues, in September 2014 she was summoned to be part of Se Trata de Nosotras, a record that was promoted by the Argentinean Anti-Trafficking Committee, revolving women trafficking matters.

Having repeatedly toured from 2013 to present across Argentina, in 2016 produced Koñüwe, a monthly cycle where singers, VJs, poets and DJs (all female) performed around the idea of the uterus, the creativity and the different ways of being a woman.

On July 17th she released her new work, Hacia La Hoguera, which is her fifth solo album, but somehow also a record debut under her real name, Carolina Pacheco.

Hacia La Hoguera contains twelve songs that traverse landscapes of lava and night seas, ranging from the dancing pop of Ritual Maestro to the feminist and ardent rap of Leño. It contains rhythmic elements and some latin folklore colors, and was entirely made with virtual instruments, without any guitars.

It counts with the collaboration of Sergio Dawi, Sof Tot (from the band Fémina), Sofia Viola and Florencia Ruiz, among other argentinean musicians.

Since then, she performed in bigger venues as Sala Caras y Caretas 2037, with her full set which includes synths, midi guitars, cello, VJ, electronic tracks and bass. At the same time she’s been playing these songs in solo-set according to Hacia La Hoguera sound, which includes glockenspiel, voice effects, electro tracks and accesories.

As for the challenges to come, she’ll soon begin to play live (either with band or solo set) integrating her former Señorita Carolina-guitar songs with her current electronic sound.