Fernando’s Eyes is the voice and face of the Swedish band Principe Valiente, whose melancholic post-punk and atmospheric dark pop have long earned them a devoted following. Now, he takes a significant step forward -embarking on a solo journey. Undoubtedly, this new chapter in his career feels like an intimate call-and-response with anyone who has ever faced anxiety, self-doubt, or the desire for change. His new single, “A Million Times“, opens the door to a more personal, vulnerable, and a reflective space with emotion as its foundation. We spoke with Fernando about the making of the single, what inspired his move toward a solo path, and why, sometimes, it’s essential to give yourself permission to be honest – first and foremost with yourself.
Hello, Fernando! I’m glad to talk to you. You’ve been an important part of Principe Valiente for a long time, and now you’re releasing a solo project. “A Million Times” is your first step into your solo career. And sorry if this sounds cliché, but I can’t help but ask: What led you to the decision to take this path?
Hi there! Well, during 2022, after we returned home from the tour we did with Sisters Of Mercy, I continued to write new music, but it became more and more obvious that the communication between the four of us in the band was deteriorating since a long time. Many of the songs that ended up on this album were intended for Principe, but there wasn’t really any strong desire for us as a band to do something with them. Then in dialogue with the band it got suggested that I might do something of my own with these ideas instead. Which I then experimented with since then.
At the end of the same year I actually split the band, only to reunite sometime in March 2023, but just me and Jim the guitar player, and we started writing new material together again. It all picked up speed and suddenly it became fun and smooth to write together again. Which then resulted in the latest album “In This Light.” Some of the songs that ended up on that album were actually intended to be solo tracks, but I decided to give it a try and do them together, as I had already written quite a bit for my solo project anyway and was in a different part of that process as well.
Fernando, you’ve been in the game for a long time, and listeners are already used to your sound with Principe Valiente. In your solo project, how much have you experimented with music, and what is important for you to preserve from your previous sound?
I’ve felt the freedom to experiment quite a bit, both because I play all instruments myself (as I do with Principe as well, besides of the guitars and drums) and also without considering whether it fits the “genre” I find myself in or anything like that. I am quite uninterested in belonging to a specific scene in that sense, so when I recorded things at home that I thought sounded good to my ears and represented who I am, I kept it that way. During the process, I imagined that a band like Radiohead might resonate in that way, as they can have so many different styles in their songs and all of them end up on the same album. I find that thing very interesting. As long as all songs feel honest and represent a part of me.
Then I had a co-producer and mixer I’ve never worked with before, and it was both scary and exciting; I wanted to try something new there as well. The communication was very good the whole time, and he helped me improve the sound and certain elements during the mixing process since I know I’m not technically good enough with mixing and all that. Regarding the sound, “A Million Times” is quite an unique track on the album, the next single will be something different so it will be fun to see how people react to that twist.
In the song, you touch on the theme of the cyclical nature of personal problems, as if they keep returning. I want to ask, do you yourself often feel like you get caught in these emotional loops that are hard to break out of?
It’s more thoughts and reflections about stuff rather than problems, but it’s about ending up in situations that reminds of each other. This song is about having felt a certain way many times and from time to time getting really tired of it all. In the subject of love then, perhaps a cliché but just in the sense of not being taken seriously or being enough, or being seen. Actually, my wiser self understands that such things have to do with other people’s baggage, fears etc, that there are reasons why relationships or other personal connections don’t work that are beyond one’s control. And that’s okay, it’s possible to accept it, but many times the feeling of not being enough becomes quite clear, and the incredibly frustrating feeling that comes with it. So then I wanted to write about it now. But without bitterness and in a slightly more almost danceable pop song. Even though sometimes you just want to completely disregard the whole world and just look at the stars and dream away, as I sing.
Now after a time since I recorded the song, it almost feels a bit like Robyn when she sings “Dancing On My Own” or Springsteen’s “Dancing In The Dark.” The very act of dancing in solitude, yet it’s still okay. That there is something peaceful about it. But more as a metaphor really, I’m not a particular fan of any of those artists. I have nothing against them or so haha, but I’m not a big fan in that sence.
After listening to “A Million Times,” it’s impossible not to feel the sincerity of its lyrics – the song really conveys a lot of anxiety and doubt. Can you tell us what inspired these themes?
Well, a bit like as said above, both in terms of relationships and connection to the world, or to other people. The theme of trying to develop as a person but that everything takes it’s time. And the frustration of it. And then you get a setback of some kind, and that setback and disappointment are something you’ve felt hundreds of times then. Or in this case, a million. But to celebrate that in a way, as I think I do with this more of a synth pop approach.
With “dear enemy” I refer to in the song, I mean the demons in life (or the anxiety) that sometimes feel like they are chasing me, the clear things-are-going-to-go-wrong theme that recurs a bit too often. But at the same time to find comfort in the knowledge that you are actually doing the best you can with the means you have. Then life becomes less stresful.
I read that you often talk about the difficulty of breaking free from old patterns and the importance of growth and transformation. This is quite a philosophical topic. How do you deal with this process in your life and music?
Regarding the creative process, I’ve become much more patient and have had the peace of mind to delve into things in more detail without feeling the stress of having to simultaneously convince others whether the idea is good (as you do in a band). So mentally, it’s much nicer to avoid that aspect. And to take one thing at a time, even in the rest of my life. Some sort of mindfulness in my daily thoughts perhaps, combined with exercising a bit more, and also allow myself to rest. Try not to stress and prioritize what is most important in my life right now. Which is then music, and getting well from this damn post-COVID that I’ve been dealing with for a bunch of years now. Just the mental attitude I have experimented with a bit more during a period of rehabilitation I had for the illness, has also allowed me to use those methods in my own life. Especially when it comes to managing stress, which has helped me a lot. And that means that over time, I can break certain patterns that have either been destructive or just haven’t really added much to my life.
I watched the video for “A Million Times” with interest – your solitary walk down an empty street immediately grabs attention and conveys a strong sense of isolation. Are these shots about your personal experiences, or are they more of a metaphor for how you see your path as a solo musician?
Nice analysis, I haven’t thought much about it but absolutely. It might signalize that I have actually felt isolated from the rest of the world, both because of the illness but also really even before that. That somewhere you are still alone against the world, the solitude and going your own way.
Actually, we had planned for me to ride on a motorcycle, inspired by scenes with Taylor Kitsch from True Detective season 2 or James Hurley (James Marshall) in Twin Peaks. The thing to drive around on a lonely road, in some sort of frustration and loneliness but tough it out. But it wasn’t possible to do it for real since we needed to simulate the whole thing (I don’t have a motorcycle license haha), so we thought we try me walking in the middle of the street instead. That I might accidentally look angry and frustrated in some scenes is mostly because it was so damn cold. But I am of course satisfied with the results.
The visual style of the video reminds me of a film where every step of the protagonist is filled with meaning. Was there a specific movie or director that inspired you for this concept?
Well, not at all at first, but during the video editing, I noticed that there were some vibes of, among other things, Blade Runner, night time, desolate, you know. And a bit 80s futuristic. Mainly because of the color nuances sometimes, but I think all of that was captured by chance in the moment. Just my interpretation, anyway. Probably mainly because of the streetlights and the headlights from the cars. Walking there at night and freezing also made me think of a scene from Eyes Wide Shut where Tom Cruise walks around in New York City, and the atmosphere is a bit unsettling, and the light, and a bit foggy. The scene at the end of the video where we actually got stopped by the police also contributed to the seriousness of the whole situation, which was a very successful aspect to capture.
I know that you’re currently working on releasing your solo album. I think it will take your post-punk aesthetic to new, more emotional territories. Can you give us a sneak peek – what unusual or unexpected things can listeners expect?
I mainly think that the new thing about the album compared to what I’ve done before is that all the songs have slightly different styles. But they are still all a part of me. One song is quite acoustic, which I’ve never released before, and then the influences (on an unconscious level) are quite numerous. I think I can sense a bit of 60s/70s psychedelic rock in one, another song is then very electronic and cinematic. But mostly, this is an organic album. Some songs are even very near the older Principe sound with real drums etc, but I sing quite different. So some kind of update I guess in my vocal thinking..?
What I’m most pleased with is how the sounds with the distorted synth strings turned out. Those sounds themselves are, in my ears, very cinematic and atmospheric. Then the actual guitar melodies are probably quite different from how we do it with Principe Valiente, of course because I play everything myself here. I’m really not a guitar player and quite limited technically, but I felt a strong need to do it and see how well I could manage everything there anyway. And I am satisfied with the efforts, if I may say so myself. Then I also have a cover song, which in many people’s ears might be quite an unexpected move, but that song has been in my heart since childhood. A bit in the same spirit as “Broken Wings”, which we did with Principe.
Fernando, you’ve had quite a creative journey – have you ever felt like surprising everyone and yourself by completely stepping out of the usual genre and trying something radically new?
Partly, that’s how I feel about this album, but also with some of the future material I’ve been working on for a while now as well, where I’m trying out an entirely different style. Especially in the sound of one specific song idea but also vocally. But the cinematic aspect of what I do is very hard to shake off, mostly because I really like effect pedals and reverb in general. These jumps and stylistic variations, however, are never planned but something that comes in the moment. And if it feels good, I continue down that path with that specific song. Then there are actually things that I change and delete if they don’t feel interesting, so I really don’t keep everything that comes out of me. It’s important to maintain focus in the moment and be critical. but at the same time open-minded, to balance that.
When you start working solo, in a way, it’s always a step into the unknown. How do you feel at this new stage?
It really is like that, but it feels really great, and scary. But mostly interesting. The downside would be if I start getting gigs with this project and I need to put together a live band, which I haven’t even had time to think about yet in the middle of everything. But it all depends on what kind of shows that come up in the future, I’ve looked into live opportunities anyway but nothing confirmed yet, so we’ll see. And if I just grab the mic on stage or plays bass as well, or guitar. Maybe a mix of all that, but mostly it would be interesting to just sing for once. And see how I handle it, so let’s ride into the unknown!
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