Exclusive Interview with Fernando's Eyes

Fernando Honorato is the lead vocalist and primary songwriter for the Swedish band Principe Valiente, which he founded in 2005. The band’s name, meaning “Brave Prince” in Spanish, reflects themes of romanticism and introspection that permeate their music. Over nearly two decades, Fernando has crafted a signature sound that blends post-punk, shoegaze, darkwave, and dream pop, earning the band a loyal following worldwide. Check out the exclusive interview below:

1. Your roots can often shape your journey. Can you share a story or moment from your early life that had a significant impact on your path into music?

Fernando’s Eyes: Nice first question, the first thing that comes to mind is when I was around six or seven years old and sitting in the back seat of a rental car while my dad was driving and we were probably on our way to some outing or something like that. And while sitting there, I hear “Starman” by Bowie on a cassette he was playing in the car. I remember that it just stuck, hard in my head, and I couldn’t shake off the feeling of it and the way he sang. Very hard to say exactly what it was that attracted me to it, but it made a strong impact on me, the chorus is very catchy and easy to grasp as well, I suppose. With laaa-laaaa-la-la-laaaah, laaa-laaaa-la-laaaah at the end, I also remember it really just stuck with me. It was like a feeling of freedom, playfulness, and a really good song I felt even then.

I also have good memories from listening to Cat Stevens and Carole King at home, things that my mother listened a lot to, a very special vibe about many songs there.

2. Did your musical journey begin with formal training, or was it more of a personal exploration? How has that shaped your unique approach to your craft?

Fernando’s Eyes: Completely personal exploration. I even hated the music lessons at school; they were boring, and we had to practice songs like you do in classes that you don’t like. It was nothing inspiring around it. So it was completely something I actually avoided, but that’s just me. Then many years later, around 24 I think I was? I took some vocal and piano lessons and they were a terrible experinece too, so now way José with that shit for me I thought.. But, I must confess, I learned on these three singing lessons before droping off, to actually breathe correctly from the stomach to improve the strength better. I guess I did anyway but I never think of it since many years.

3. Who were some of the most influential figures in your early musical life, and how did they inspire your sound? Also, what’s the story behind choosing the name ‘Fernando’s Eyes’?

Fernando’s Eyes: Well, as mentioned, really early on I had Bowie and I liked music in general. But actually also ABBA and Roxette (before I even knew that I would move to Sweden a few years later before I was 12 years old).

But the artists who made a strong impression during my school years and got me to start playing bass in a band back then were Nirvana and Suede in the 90’s. I was also into a bit of Rage Against The Machine and harder stuff, but those two bands did something special to me. Probably many who can relate to that in the mid-90s.

About the name, I have probably referred to the somewhat mysterious aspect that it represents, perhaps the stereotypical romanticism associated with the image but also the mystique. Or if it is sad or longing eyes. Or that give hope? Those are the kinds of things I’ve been thinking about and that many have interpreted it as as well, but is a bit up to each individual to refer to, I suppose.

4. What do you believe sets your music apart? How would you describe your sound to someone discovering you for the first time, and what emotions or experiences do you hope to evoke in your listeners?

Fernando’s Eyes: For me, I feel like I want to create something as personal as possible, something intimate, in a way that goes further than what I’ve done with Principe Valiente.

I behave more freely on my own album when it comes to crossing boundaries with genres and sound. I believe that my strongest characteristic is that the music, amidst all the chaotic moments, is also calming. That it gives the listener space to reflect. Something meditative about the whole thing that I can appreciate, being in that bubble for a moment in the middle of everyday stress. Since I can feel this way with much of the music I personally like and have been inspired by over the years, it has in an unconscious way been something similar that I have strived for. And I hope the listener experiences the same thing; then I am more than satisfied.

5. For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and music maker, and the transition towards your own style, which is known as INDIE?

Fernando’s Eyes: Yes, at the beginning it really is like that, like when I started playing bass in the band in high school (and also singing, though very little back then), that you unconsciously might write and sing in a similar way to your idols. Then over the years, you carry that with you and blend other influences into your life, and it becomes more and more something of your own over time.

The last 15-20 years with Principe and my own work, I’ve been trying to shake off some of that, being quite careful to strip away elements so that it doesn’t turn into a tribute to my influences. They are still there in the background, so the most important thing for me is to create as an unique expression as possible, but of course, it’s a very difficult task.

6. Music often transcends entertainment. What’s your view on the role and function of music as political, cultural, spiritual, and/or social vehicles – and do you try and affront any of these themes in your work, or are you purely interested in music as an expression of technical artistry, personal narrative, and entertainment?

Fernando’s Eyes: For my part, I prefer to avoid writing about politics; I don’t find it very interesting to convey such things, and I believe many other artists are much better at it as well. But in a spiritual way, as you express it, I think I’m better. Creating atmospheres and a bit more cinematic soundscapes, which suits me well since I’ve always strived for the more dreamy-like vibe in my songs. I’ve always fundamentally wanted to write music that I would want to listen to myself. And if I can get an audience that feels the same way about my music, then a lot has already been gained.

7. Do you feel the rewards of your musical career match the energy and passion you invest in it, or are there different kinds of fulfillment you’re still seeking?

Fernando’s Eyes: It’s a bit of mixed feelings, it’s very time-consuming, even though it’s enjoyable and very, very fun to write, experiment, and sing exactly as I want and challenge myself all the time.

But of course, playing live much more would be a great reward. But really, it’s just that part I’ve mainly missed (I’m more referring to PV now), as for my solo, I haven’t gotten that far yet with performing my songs, but the response I’ve received so far from the singles has been very good. So I’m very satisfied so far. Especially regarding my German record label, which has done a fantastic job with all the promotion around it and with the album to be released soon.

8. Can you walk us through your creative process?

From the first spark of an idea to the finished track, what’s the most essential part of your process, and how do collaboration or external influences shape your work?

Fernando’s Eyes: When I started writing for the album “Barricades” with PV in 2020 just when the pandemic hit, we had no choice but to do what we could from home regarding the recording. So I learned a lot there and felt a great freedom in being able to do a lot myself and redo as much as I wanted. In a studio, where the clock is ticking and all the costs that come with renting a studio, I often experienced stress over finishing within a certain number of takes etc., no matter how well-rehearsed I was. So this method suits me much, much better, which also became the working method we had on the album after “In This Light” and also on my solo album. Except for the drums on four songs on my solo, where we rented a studio for obvious reasons, and everything went very smoothly anyway, and my drummer and I were well-rehearsed.

As for how the idea develops, it’s free experimentation from the start with some chords on guitar or synthesizer, and then adding a few elements until I find a certain feeling in the demos that I want to keep, and then I simply continue along that thread. Even if the inspiration isn’t really there from the beginning, it usually comes along the way, which is a very interesting feeling. Depending on the song, that process can take either two evenings or several weeks to find the “right” essence. Then I might play with another song in parallel, come back to the first idea after a few weeks, and then I see things differently, sometimes positively and sometimes not, but then I take it from there and continue experimenting with the idea. The whole process is incredibly fun. Even though it is time-consuming.

9. What’s been the most challenging hurdle in either your personal life or music career, and how has it shaped you as an artist?

Fernando’s Eyes: Frustration? Haha, music is supposed to be created out of joy, that’s well known, but if you have some frustrations against injustices, bad timing/bad luck/a feeling that life is against you regarding love and practical life moments like work, sometimes you just get a bit fed up with it all. A punk attitude that I think I still carry with me, which was rooted in my high school years when I identified with Nirvana I guess, that frustration, you know. But doing something positive and creative with those feelings has helped me a lot. But I haven’t really faced any direct obstacles, mostly just periods of not trusting myself enough, I suppose, which I’ve worked on quite a lot in recent years. Both on the creative and the personal level. Which makes life quite a fantastic journey after all.

10. On the flip side, what moment or achievement in your career so far has made you feel the proudest, and why? And let’s talk about your latest release and future plans.

Fernando’s Eyes: Well, every time we’ve released an album with Principe (5 now), is very special. The feeling that you’ve managed (again) to create something you are proud of. The journey to my solo album is even more special as I did everything by myself 100% (instead of maybe 70% with PV?) and played all the instruments. Except for the drums on a bunch of songs, and I received fantastic help from my producer, even though the whole album and much of the sound were already almost finished at the demo stage.

Live-wise, it was also an interesting experience to have toured with Sisters Of Mercy when we opened for them in 2022 with PV, and to have talked with Andrew on a few occasions and joked around backstage etc. Then most of the festivals in Germany we’ve played over the years are always special with a warm audience.

The album is set to be released on June 13th, and what will happen next is a bit unclear, but if some gigs are booked, the focus will be on that for a while, putting together a band and starting to present the material live as well, which feels very exciting but will also involve some work and time.

11. With social media having a heavy impact on our lives and the music business in general, how do you handle criticism, haters, and/or naysayers in general? Is it something you pay attention to, or simply ignore?

Fernando’s Eyes: I’ve been lucky (so far) to mostly receive good responses to things; a few reviews of Principe’s albums have been critical at times (but surprisingly few), and I’ve probably shaken them off pretty quickly. Such things are always just someone’s individual opinion, or when people react to a certain song sounding a bit too much like something else and speculation starts. Same there, it just has to do with people’s own references and interpretations. Not something I care much about, really just fun that people get involved and take what you do seriously. As long as I’m satisfied with what I do, I don’t really care much about others’ negative opinions.

12. Creative work in a studio or home environment, or interaction with a live audience? Which of these two options excites you most, and why?

Fernando’s Eyes: The creative process is what I like best, if I have to choose between the two. To be in my bubble and play around with ideas and let the hours pass.

It’s obviously a lot of fun to play live, but there’s a lot of logistics and sometimes stress that can make it a bit tough, messing up sleep and eating habits, etc. All that white bread you get during tours and crappy beer, haha. But if you put on a good concert, it’s definitely worth all the hassle, and when people come up afterward and want to talk to you, and many specifically mention which songs meant something to them, it warms you incredibly much, and then I’ve kind of done my part.

13. Do you think is it important for fans of your music to understand the real story and message driving each of your songs, or do you think everyone should be free to interpret your songs in their own personal way?

Fernando’s Eyes: Absolutely, it’s just interesting when people have their own associations with songs that resonate with their own lives. I have my own image of the songs and the lyrics; if someone can relate to it in exactly the same way, that’s really fun. But if people have different interpretations of things, it’s quite interesting how that came to be. Especially if certain things can remind someone of something completely different in terms of sound, which I hadn’t thought of at all.

Hence the scary part about releasing songs – once they’re out, they’re free to live their own lives!