In ‘Mismo’, her most recent single, Estrela Leminski sings a poetic cry in favor of the urgency for gender equality. This release is part of a series of songs that the artist has presented this year, ahead of new releases planned for 2024.
The inspiration for this song goes back to an award-winning poem created by Estrela Leminski during her period of studies in Spain, during her master’s degree in the Iberian country. Originally composed by Leo Minax, the song has had notable interpretations by Juliana Cortes and Bruna Lucchesi. Now, as an original single by Estrela, the track features arrangements and musical production by Téo Ruiz, who shares the vocals.
Within this series of releases, the artist re-released the album “Leminskanções”, originally released in 2014, in double disc format. The work was made available on streaming platforms, including exclusive songs previously only present in the physical edition, as well as extra singles.
In addition to the re-release of “Leminskanções”, Estrela also released three other studio albums and several singles. Currently, she is in the process of creating a new album with her partner Téo Ruiz, as well as working on an unreleased novel. ‘Mismo’, his latest release, is now available on all major music platforms.
“Mismo” is a poetic expression about gender equality. How does the experience of composing and performing this song reflect your own perspectives on this topic?
This question has always been strong for me, because I grew up reading my mother Alice Ruiz’s texts. The very conduct of upbringing has always been focused on this equality: there were no girl-boy things in my childhood, and this is something I try to reproduce for my children. But the interesting thing is that this song gains new layers of meaning from each thing I experience and learn. I have been learning about non-binaryism and I believe that society is delving into questioning and performing these gender roles. At this moment it gained another layer for me, of questioning these pre-established places.
This track has its origins in a poem you wrote during your master’s degree in Spain. How did the cultural experiences of that time influence the creation of the music?
In reality this poem was written for the Fomento de la Igualdad de Gêneros Award in Spain, which was multi arts. The prize was in credits for books. I had to think about how to construct a poem without getting caught up in the subtleties of meaning or errors. It’s one thing to speak a language, it’s another to create a poem that matches the lyricism of another country. I then decided to create a poem, which, being minimalist, was born with sound. Because It has the sound proximity of hombree hembra. Which is male and female. Man and woman x Male and female. And that messed with me. And then came hambre, which is hunger in Spanish. Hunger as a need, a desire, is what ultimately unifies us.
Téo Ruiz collaborated on the musical production and shared the vocals on “Mismo”. What was it like working with him on this project and how did this partnership contribute to the sound of the song?
It’s interesting because Téo has been immersed in this song since Leo Minax wrote it in 2010. I always wanted to put it in our repertoire, but our band has always been more rock. Téo took on this challenge and we counted a lot on our band, especially Ruan De Castro, to think about transposing it into this format. We did it in some shows, but when I decided I wanted to release it, Téo took the lead, composed horn lines and conducted the entire recording and production as if he had come out of my head.
You recently re-released “Leminskanções”, including exclusive tracks from the physical edition. Can you share a little about the decision to re-release this album and the importance of these additional tracks?
Due to some bureaucratic issues, we were unable to put the songs on platforms at the time. We took advantage of the pandemic to gradually develop each of the songs. Next year we will come with new compositions from my father, so we decided to launch it now to leave next year for new things. It’s a surprise, I can’t tell you yet.
In addition to “Leminskanções”, you have released several studio albums and are working on a new album. Can you give us a preview of what we can expect from this next project?
In this next work, the idea is to rescue my first instrument, which is the drums, and dive into a lean and electronic format to release some slightly more romantic and electronic things together with Téo Ruiz. Format guitar, drums and voices. I also intend to release new singles.
What is your creative process like when composing new songs? Is there anything in particular that inspires and influences you in the creation of your lyrics and melodies?
To write what inspires me is to read a lot. But to create melodies, there are many things that inspire me, travel, driving and even taking a shower: things that leave me in a meditative state in a certain way.
In addition to music, you are involved in other artistic projects, such as writing a novel. How do these different forms of creative expression complement each other in your artistic journey?
I joke that I can never decide between music and literature. In my life, one always feeds the creation of the other. But it also hinders the other’s work because each of them has very different times, demands and energies. That’s why I end up having more musical and more literary phases to deal with what’s calling me at a time. In this case, it’s a novel that I’ve been working on for many years, so I’m about to write my first piece of prose.
In your musical journey, was there a moment or song that you consider especially significant or transformative in your career?
Vanguarda Paulista always inspires me. Even though it was the beginning of everything, it’s not something new, it’s what I always go back to. Another key point was Leminskanções itself, because it is my first work as an interpreter. I always thought of myself as a singer, but after this work I wanted to study singing, which is what I did in the last few years. I want to re-record everything I’ve ever done, with the technique I have today.
Throughout your career, you have experimented with different musical styles. Are there any genres or approaches you still want to explore in the future?
One of the issues I want to delve into is precisely Latinity. Both the rhythms and the Spanish language itself provoke other musical solutions for me, which I will soon end up exploring further.
As we look to the future, what can Estrela Leminski fans expect in the upcoming releases and projects you have lined up for 2024?
I believe that the profusion gives everything at the same time now.
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