Fernando’s Eyes
Fernando’s Eyes discusses the creative freedom behind “Room On Fire,” its themes of moving forward, and the fresh musical direction shaping his upcoming album.
1. “Room On Fire” marks a more direct and forward-moving direction compared with the atmospheric character of Center Of Your World. What inspired this change in approach, and what did you want the song to communicate through its sound?
When I wrote the song—I think it was actually one of the first ones for this next album—it felt very natural to break away from the formula I’d used when writing the more atmospheric and ethereal songs on the previous one. It was just something very personal; I simply felt that I wanted to be more direct with this idea. Both in terms of the instrumentation and the way I sing. The singing approache it’s something I’ve tried in certain songs with Principe Valiente before, but also something I did on the song “The Fire Of The Night” from the last album.
It’s like a fresh start, and the lyrics are about looking straight ahead now, without brooding or fear. Or rather, you still have fears, but the courage lies in moving forward despite those fears, while retaining your discernment, doing your best, and just going for it.
There’s a similar aspect to the use of the saxophone as well—it’s not something I’d tried before (and I’d actually looked down on it a bit; it can easily get too cheesy, in my opinion)—but I was working on different melodies with a synth where a saxophone might have fit instead. So I tried to make that happen and that’s when I got in touch with Lina, whose interpretation really made it just really great as I wanted.
2. The song is about leaving without looking back, presenting departure as a deliberate choice rather than an act of loss. What personal or emotional idea was at the heart of the lyrics, and how did you translate that feeling into the music?
Moving on from old sorrows, romantic adventures that led nowhere, and being a little tired of going around thinking about those things. Or thinking about how I handled things, though I’m pretty happy with most of it. But, you know, stop dwelling on it all the time..
A bit of self-therapy, I suppose, and listening to the song over and over again during the process of writing it has a healing effect. But it’s something that doesn’t contain bitterness or hopelessness – quite the opposite. And not too many roundabout ways of explaining what I mean here and there, but just straight to the point and out with it. After all, it’s up to the listener to take it in their own way. Musically speaking, as I mention above, it also felt good to have a slightly harder and colder sound. But still danceable.
3. You produced the track yourself, combining programmed drums with live toms that you played personally. What did this contrast between machine-tight rhythms and a more physical human element bring to the song?
Yeah, I produce all my songs by myself – but during the mixing process I have a great mixer and producer in Gothenburg just refining it all as well. Hans Olsson, one of the best guys in Sweden.
I think the machine-like element symbolizes the “cold” aspect of just looking ahead, moving forward, and so on. In hindsight, I’ve actually thought a bit about the song “In Between Days” by The Cure, where Robert also sings, “Go on, go on, just walk away, go on, go on, your choice is made,” etc. So simple, yet it says so much. I drew a parallel in my own mind that I sang that to myself, at least. Fantastic song and band, of course.
When I was writing the song at home with electronic drums, I felt that here and there it would probably benefit from acoustic drums as well—so I practiced those a bit and figured out where I wanted them, and then I recorded them in the same studio where the saxophone was also recorded.
Anyway, I especially like the digital toms as well and the “whips” here and there; I’m really happy with that. Something I imagine Drab Majesty would have used as well, so they were probably in the back of my mind somewhere as inspiration.
4. The saxophone by Lina Langendorf adds a distinctive presence without becoming ornamental. What made you decide to bring saxophone into “Room On Fire,” and how did Lina’s contribution shape the final arrangement?
Well, as already mentioned in the first question haha (sometimes I just have to get everything out right away), I was playing around with a synth sound and then thought a saxophone would fit perfectly instead. Despite the “risk” that it might come off as cheesy—since I’ve often thought that before with other artists. But this time I just wanted to take a chance; I’ll be directing a bit and demonstrating how I want it anyway, so Lina can do her best and, since she was okay with that way of working after sending her files back and forth, play more or less that way. After all, real saxophones have to be played like saxophones—it could risk sounding a bit stiff if they have to mimic a synth melody too precisely.
The flutes on the song were something we improvised on the spot in the studio— (even these are very low in the mix now, but I didn’t want to expose them too much, just blending them in in the arrangement) and there are also a few flutes at the end of the song that I’d had in mind since before. But they are removed on the single version; they’ll be included on the album track, though—so we’ll see what the listeners thinks of it.
5. As the founder, vocalist, and primary songwriter of Principe Valiente, you have developed a sound across post-punk, darkwave, shoegaze, and dream pop. How does working as Fernando’s Eyes allow you to explore musical or personal territory that feels different from your work with the band?
On many levels, mainly because I only have to consider my own thoughts and opinions, and make changes later on if I want, etc. If you’re too much of a “me” person in a band, the environment can easily get a little infected, even though writing together with Principe has usually worked very well. But I still don’t have to feel that “pressure” to ask for people’s opinions and change things if someone doesn’t agree with certain ideas. So I don’t know—even more freedom, I suppose. Then during the mixing process with Hans, we bounce ideas off each other a bit—swapping out some synth sounds, maybe adding different hi-hats, for example (which he did on the song “A Million Times” from the last album)—and we have a really great collaboration.
As for genre thinking and where I should stay within certain boundaries, I’ve very rarely thought that way—I simply keep whatever I like. If a song sounds good with the guitars played in a way where I bend the strings and let the open chords sway a bit, but it still feels personal to me, then I keep it. Although in some cases I might think, “Aaah, now it’s turned out more shoegaze than I intended,” or when I’ve bent the strings in a specific way and thought, “Ha, that’s probably how Daniel Kessler from Interpol would’ve done it, too.” As long as the result itself is still personal—that’s the most important thing to me in my writing. I don’t want to be an homage to my idols or influences. Though, yeah, it’s hard not to have Bowie in there anyway, no matter how you look at it…
6. “Room On Fire” is your first new material since Center Of Your World and its accompanying bonus tracks and remixes. Looking ahead, does this single point toward a new chapter for Fernando’s Eyes, and what can listeners expect from that direction?
I don’t want to give too much away just yet before the album’s finished and released, haha, but yes, some tracks are really innovative for me personally, regardless of genre, whilst others are quite classic in my post-punk/dreamy synth style from both my last album and my work with Principe Valiente.
What I can say is that I’ve collaborated with some new female vocalists on backing vocals on some tracks; some of the songs are surprisingly cheerful too, for me. And the saxophone will be doing a guest appearance on something more… Also some more drums/tom played by me. But let’s not say too much about that until everything’s finished. But yes, it’s been a really fun and inspiring journey so far!