Recognizing that songs from that era “don’t always give good advice,” or even contain foul language, she said she wants her music to touch people as she sends out various messages: “Messages that are much more open, much more feminist, much more egalitarian.”
‘Marchita’, which translates to ‘withered’, is about Estrada’s first love and the deep sadness that came with it. She recorded the album two years ago, and when she listens to it now, she hears a sense of naivety. “Only someone of such innocence can write such solemn things,” she said. “It’s like mourning that first idea you have about love.”
Like her everyday speech, Estrada’s lyrics unfold with a poetic appeal that flourishes in Spanish. They often reflect the romantic textures of Nicaraguan poet Rubén Darío, or perhaps Uruguayan poet and critic Idea Vilariño, both of whom Estrada devoured while writing the album. On “Te Guardo”, she sings, “I have two kisses waiting / one for each cheek / and a crystal abyss / for every wound.”
Such lines immediately attracted the pop-rock giant Julieta Venegas. “What she writes is closer to a poetic construct, in the sense that it is something that can stand on its own,” Venegas said in a telephone interview. “It’s not like it just accompanies the music.”
Venegas became aware of Estrada through the musician David Aguilar, eventually catching a show of Estrada’s in Buenos Aires. “She has a very intense relationship with words, which I think is so brilliant for such a young songwriter,” said Venegas. “Her songs have elements of great depth – a story of images.”
Gustavo Guerrero, the producer of “Marchita”, said that “it was challenging not to take away the power and expression of Silvana’s art.” The songs, melodies and lyrics were so well written that he ran the risk of “overproducing or polishing something that’s already been done,” he explained in a phone call. Together they tried to keep the minimalist energy of her live performances, in which she dominates the stage, accompanied only by her voice, her lyrics and her cuatro.
“I’ve been working on that for a long time,” said Estrada. “How can I be strong, how can I convince with the minimum? Don’t you think that can be very feminine at times?” she wondered. “I see my mother solve everything with a little money, a few ingredients, a little bit of everything. That’s very strong. Sometimes I think it’s the same with music.”