Fernando Honorato
The Swedish artist channels the spirit of classic rock rebellion into a hypnotic soundscape that invites listeners to lose themselves in the moment.
Following the release of his acclaimed album Center of Your World earlier this year, Swedish artist Fernando Honorato returns with a mesmerizing new single, “The Fire of the Night,” released on October 24, 2025. Under his solo project Fernando’s Eyes, Honorato continues to expand his sonic universe — this time channeling the vibrant spirit of 1960s psychedelic rock. With swirling guitars, hypnotic rhythms, and a sense of dreamlike freedom, the track captures the joy of surrendering to movement and losing oneself in the music. Accompanied by both a radio edit and a full album version, the single also features a remix of “Center of Your World” by Peer Lebrecht (Voyna, Golden Apes).
More than just a standalone single, “The Fire of the Night” serves as a bridge to Honorato’s upcoming bonus and remix album, set to arrive in November. The project teases new creative directions, expanding on the lush textures and introspective moods that defined Center of Your World. In our conversation, Fernando reflects on the inspirations behind his latest work, the liberating process of creating solo, and how embracing spontaneity continues to shape his ever-evolving sound.
What first led you to start creating music? Have you always wanted to become a musician?
Fernando Honorato: I was quite involved in sports in my younger years (apart from theatre when I was really little) and realized quite late, actually in the middle of high school, that it was music I really wanted to do.
I played both piano and a little clarinet as a child, but mostly as a regular activity without giving it much thought, other than that I enjoyed it of course, and it made me feel calm. But during my high school years I started playing bass in a band more seriously and had gigs in the auditorium on school plays and all that. That’s when I felt that it was the right thing for me, so I abandoned all the football and tennis things I had going on by then.
What inspired you to create The Fire of the Night, and how did the idea for this song first take shape?
Fernando Honorato: As with most other songs I write that are somehow different from what I’ve done before, such as the song ‘Center Of Your World’, it’s something that comes to me in the moment when I’m sitting there experimenting. This time, I wrote this song and ‘Lady In Black’ quite close together on guitar, and it just felt ‘right’ at that moment that I should have those powerful drums accompanying the guitar melody. And the tambourine that dubs the snare after a while immediately gave me the feeling of the 60s, like something from Jefferson Airplane or Velvet Underground? Or something more modern but inspired by that era, such as Spacemen 3 or Black Angels, which I think are great bands. But all these thoughts come to me when I’m sitting there working on something in the moment; I’ve never been able to do anything according to a specific frame in advance or anything like that.
The German band The Blue Angel Lounge is also something I listened to a lot maybe 10 years ago, and that vibe was probably still in the back of my mind somewhere too. Fantastic band.
You’ve described the song as being about “losing yourself in the movement.” What does that sense of surrender mean to you personally?
Fernando Honorato: Mostly the feeling of letting go, perhaps when you imagine like being in Berlin in a younger age at clubs, just being there in the moment, dancing, forgetting all problems, broken hearts and disappointments etc, just like the lyrics say. The positive aspects, actually, and the vitality that exists in that state. Taking a break, so to speak.
The track feels both nostalgic and modern — how did you balance the late-’60s psychedelic influences with your contemporary sound?
Fernando Honorato: It was just something that came to me without me consciously aiming it in that direction. I think it was a result of letting the song live its own life. It probably has to do with my singing, that it feels like me or a bit like Principe Valiente, but if it had been sung by someone else with a lighter voice or if the girls themselves had sung it all the way, it would probably have ended up being a pretty different song.
Can you tell us about the process of crafting both the radio edit and the extended version? How do they each serve the song differently?
Fernando Honorato: When me and my friend Johan, the drummer who plays on some tracks on the album, listened to the test pressing of the vinyl, we talked about how the song could be shortened down to grab the listener’s attention a little more straightaway, with the intention of adapting it for radio for once, which I’ve never bothered to do before. But now I just wanted to try it. So that the vocals come in more directly and the song could be of a maximum of 03:30 long. So then I experimented with it and after sending him a slimmed-down version, we decided to release the short one as a Radio Edit, since the label already had the idea of releasing it as a single anyway.
It wasn’t a huge process really, but the original is the one that counts in my opinion.
Working with Voyna on the remix of Center of Your World brings an intriguing contrast of light and shadow. How did that collaboration come about
Fernando Honorato: Since we’re on the same record label, the company suggested me to check with Peer there (who is also the singer and songwriter for Golden Apes, who we played with PV on two occasions in Berlin back in the days), so I thought, hell, let’s give it a try! And I really think he contributed with a special and calming vibe to the song. All the ideas were from his side; when I do remix collaborations, I almost always let the remixer do what they want with the song. And if they want some notes along the way, I’ll give them to them; otherwise, I let the person freely experiment as much as they want. Besides a few occasions when the vocals are maybe a bit too weird or have an unexpected sync in my ears, then I react to that. But all the collaborations on this project have gone well, and I feel flattered that many artists have been open for it.
Who are some artists or bands that have had the biggest influence on your style?
Fernando Honorato: Oh, the big question. That question always gets the answer Bowie, Suede and Nirvana, regardless, but since we’re talking more about ‘The Fire Of The Night’ now, it feels a little different actually. So yeah, those are the influences I’ve mentioned above on question #2.
Otherwise, of course, there’s The Cure, Interpol, and a bunch of others. The Sound, The Doors—the list can be quite huge.
I’ve also had small periods with Talk Talk that have been very inspiring, but I don’t know if that reflects anything I actually do. This may be because I notice certain similarities, which can also apply to Morrissey, while I am working on the vocals during the early demo stage. But it could just be in my head. Tindersticks is also something I come back to from time to time. The important thing in questions like this is that, regardless of your influences, the most crucial is to make something as personal and unique as possible, to make something your own. Otherwise, it can easily end up being a tribute to your idols, and I don’t find that very intriguing. So all the references that you don’t really think about, that are in the back of your mind on a subconscious level, are the interesting ones. Sometimes it can be one-hit wonders from the 70s and 80s that come up in a melody loop but feel great in the moment, and you catch yourself thinking, ‘What the hell was that?
How does The Fire of the Night connect thematically to Center of Your World? Would you say it continues that story, or begins a new one?
Fernando Honorato: Nothing I’ve thought about, actually. So yeah, they are completely different songs. However, I understand what you mean. ‘Center Of Your World’ fit very well after “The Fire..” on the album, but that’s mostly because of the retro chemistry that both songs have.
Principe Valiente has a long and powerful history — how does working solo change your creative process or mindset compared to working within the band?
Fernando Honorato: Actually, I write the songs much the same way, the main difference being that I experiment a little more freely with different styles and don’t feel the need to limit myself so much. I also play all the guitars myself, which gives it a slightly different feeling, but the biggest difference is probably that I just juggle everything myself, at my own risk too. So you have to keep your ears open all the time. It’s both a lot more freedom and a lot more risk-taking and responsibility.
If you could collaborate with any artist, living or dead, who would it be and why?
Fernando Honorato: Of course it would be Bowie. For obvious reasons and because his music has influenced me since I was a child.
Living in the present, it wouldn’t be a bad idea to do something with artists like The Cure or Interpol. Or Chelsea Wolfe. Or at least have the luxury of being their opening act sometime, haha, but that’s difficult. For the next album, I’m actually thinking of inviting other singers to do certain parts of songs and even backing vocals. Both international ones or artists I admire and have (I think) things in common with from Sweden. But we’ll see, it’s too early to say yet.
With Principe Valiente many years ago, I actually wanted to feature Swedish artist Stina Nordenstan on a song, but I didn’t manage to make it happen. I did get in touch with her manager at the time, though, so that’s something at least. She’s one of the few Swedish artists I’ve really admired and still do.
You’ve mentioned wanting to explore a “more personal, introspective side.” What feels most personal about this stage of your music?
Fernando Honorato: The fact that I am responsible for 100% of the structure and sound at the moment. Otherwise, I usually collaborate primarily with the guitarist when it comes to Principe Valiente, and I have been very satisfied with that, but as I said before, it means even greater freedom to be your own boss and critic now. And the personal aspect of actually daring to have a little more breathing room in the arrangements as well, such as on ‘City Of Strangers’ and ‘The Fire Of The Night,’ as well as ‘Center Of Your World’.
‘Lady In Black’ is also one of those songs where I really feel that I’m singing in a much more relaxed and personal way than before, without having to ‘prove’ anything. There’s still something very refreshing about that song, and I feel the drumming is among the best I’ve ever had, so I’m very happy and grateful for Johan’s contribution there.
The upcoming bonus and remix album sounds like it will expand your sonic world even further. Can you give us a glimpse into what listeners might expect?
Fernando Honorato: The bonus tracks are material that I wanted to include on the same album, but when it was decided to release it on vinyl as well, it ended up being too long. And a double vinyl felt a little too ambitious. They follow the same theme as ‘The Fire Of The Night’ (if I may reveal that), although the opening track will have some more of the post-punk sound again, but airy. The remixes are some of the songs that have already been released, but there will be three more that will actually premiere then. Plus, a cover that I wrote long before I did the song of Madonna, but this one is much more stripped down. It will be interesting to see how the listeners react.
There’s a strong sense of motion in your music — waves, fire, drifting light. Do you think that reflects something about how you experience creativity or emotion?
Fernando Honorato: Absolut, pure emotion. Wild is the wind.
Your sound has evolved across genres — from darkwave and post-punk to dreamlike psychedelia. What guides those shifts for you?
Fernando Honorato: As said before, it’s really something that comes to me in the moment while writing. And if it feels right and honest, I continue with that approach. As those genres reflect the music in general that I personally appreciate.
How do you approach building atmosphere in your music — what comes first, melody, rhythm, or emotion?
Fernando Honorato: As an old shoegazer, I like guitar pedals and reverb. But also distorted synths, which I experimented with on a few songs for the album. On the songs where I played with those sounds, those elements came first. Otherwise, there’s been some melody loop on guitar or piano or synth, and I play around with the vocals at an early stage. And from there, it takes off and the journey begins. I keep some things; others are discarded if they don’t feel exciting enough. But when it comes to emotion, it often comes quite strongly right after the distorted string sounds for instance, the brokenness of it, I think it contains both something sad and incredibly beautiful, both the fragile and the dreamlike in it, then I let the feelings take over completely, and the vocal melody. The lyrics usually come last, although on a few occasions some sentences have come straight from scratch.
What’s been one of your most memorable moments as a musician so far?
Fernando Honorato: It was probably when we toured with Sisters Of Mercy back in 2022 with PV. Quite surreal at first, but after a few days I got more into it, seeing Andrew Eldritch applauding with a cigarette in his mouth from a rooftop here in Stockholm after our show and standing and watching your soundcheck at another gig. From being a band I used to listen to in my teenage years to now seeing and talking to them every day for two weeks was interesting, and how fast it became quite natural being around them and their crew.
Another nice memory is probably when we worked with Suede’s producer on mixing our singles back in 2013 for the album that came out the following year.
As for Fernando’s Eyes, the whole process of releasing the album and singles and music videos in the middle of everything has been fantastic fun, but also a lot of work in a fairly short time, really. I worked on the actual writing and recording of the songs for a long time, but then when it came to making videos, new press photos and covers and everything else, it’s been more intense than ever, but also a very fun journey. I hope to add to these experiences with memories from playing live as well, so I hope something changes there and there will be some development soon.
If Center of Your World was the sunrise and The Fire of the Night is the lingering ember, what do you think dawns next for you artistically?
Fernando Honorato: The opening track, ‘Higher Ground,’ which will be on the bonus album in November, is actually somewhere in between these two, although, as I wrote earlier, it’s a bit more post-punk again with some ‘old’ Fernando roots.
Then there’s the fact that I’ve already written a bunch of new songs for the next album, and it’s starting to get awesome. And there, too, I’m venturing into slightly more unknown territory in terms of genres but mixed with my own dark pop ingredients.
What do you hope listeners feel when they hear The Fire of the Night for the first time?
Fernando Honorato: Similar to the description in the press release. The sense that you can let go, be in the moment and just be a little meditative in the middle of the intense soundscape and feel the joy.
Listen to The Fire of the Night, now available on all streaming platforms.
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