I recently fell in love with a spectacular little EP called The Beauty of Danger. Courtesy of Spanish artist Edu Campoy, better known simply as V.E.N!, the eclectic five-track offering was released in 2024. So yes, I do apologise for being late to the party!

Keen to know more about the man behind the music, I reached out to Edu, hoping he'd have some time to chat. Thankfully, he was only too happy to oblige.

Speaking with us about his early days in a powerpop band called Club Radar, his love for acts like The Beatles, The Clash, and The Smiths, and why he believes it's important to lose the fear of going against stereotypes, please welcome our new friend Edu Campoy, AKA V.E.N!

Hi Edu, I'm so grateful you've taken the time to chat with us, and I can't wait to introduce you to our ever-growing audience!

Before we get into the nitty-gritty, please tell us a little bit about your musical journey so far.

What sparked your passion for it, and how has that led you to where you are today?

Even though I'm from Seville, one of Andalusia's flamenco cities, there has always been a strong alternative rock scene here. From a very young age, when I listened to pop-rock bands, I felt it was something very close to me. And like so many others, hearing it made me want to recreate that magic, first with an old acoustic guitar, then in a group, and now with my solo project.

After years in a powerpop band called Club Radar, I stepped away from music for a while to focus on opening my own bookstore, Novalis, as a way to make a living. My other passion. It went well... but the call of music is very strong, and there's no antidote for it. I then threw myself into this solo project, which already has several EPs out. The goal was to let myself go when developing new songs, without filters or limits, and express what I felt in each moment.

OK, let's talk The Beauty of Danger, your most recent release.

It's an EP I've really gotten into lately. There's just a warmth and sincerity to each track that shines through beautifully.

How did you go about shaping the sound and mood of the EP to make it feel so personal and sincere?

It was a natural process, without any set objective beforehand. I let myself be carried by each melody that came up, which called for its lyrics and then arrangements, more ethereal or powerful depending on the case.

I build layers of guitars and add voices without a fixed plan, not knowing exactly where it will take me. I try not to fall into the trap of cutting or adapting what I felt in the moment to any rigid stylistic mould, especially in lyrics. I always avoid that disillusioned rocker cynicism, which ends up just being a mask of fake rebellion.

Now, I apologise for asking such a tough question so early on.

But...if you could pick one of your songs to skyrocket to the top of the charts and achieve massive international success, which would it be and why?

It's definitely hard to choose, but Masks and Dangerous Dreams from the EP Mystical Songs for Cold Winters could be a good candidate. It kicks off with melodic energy and deals with something that affects us all. Fear makes us hide behind masks we impose on ourselves or others. But when the final moment comes, there are no lies. Then we'll know who we are, and it's better and necessary to know it now. Today. Maybe it's a good sample of the V.E.N! sound.

Who are some of your biggest musical inspirations?

And, if you could "steal" one song in the world and claim it as your own, what would it be and why?

My main references are the bands I listened to as a kid, 60s groups like The Beatles, The Who, and some progressive rock like Pink Floyd. From punk, The Clash really grabbed me. And The Smiths from the 80s. Also Elliott Smith...and many more.

A song that comes to mind...Le message by Françoise Hardy, for the ethereal and melancholic beauty of its melody and voice. With guitars and electricity, it would sound amazing.

For contrast, The Clash's iconic London Calling, for its furious and socially combative darkness. I grew up in the barracks because my father was military, so that militarised rock rhythm really grabs me.

What are your thoughts on the current state of the music industry and, if you could, how would you reshape it?

Not being an expert by any means, I sense independent channels are very weakened compared to the power of the major industry, which has managed to concentrate a lot of power and create demand from its offerings for what's most profitable in the short term. A system that limits risk and boosts profit.

The fact that terms like "indie" or "alternative" even got popularised shows that for some time now, they've had to label what used to just be good music, or music that goes beyond conventional taste, without needing to justify its independence from trends or numbers. Fixing this means boosting those independent channels again, because...are platforms building catalogues of future classics?

They might prioritise short-term gains too much and stick with the classic catalogue that already outlasted fads. Actually, it's the big economic issue for many platforms, the royalty rates that catalogue owners demand.

Only by giving more visibility to future niche classics could it balance out. Maybe they're already doing it, I don't know. On the other hand, this new accelerated and anxious consumption habit is maybe the worst enemy of music that doesn't chase superficial immediacy.

How do you define "musical truth" in your work, and what does staying true to that mean for you as an artist?

I suppose it's not being tied to what others expect from you, or what you think they might like. Without turning into a bubble shut off in your own world, isolated from everything outside. Speaking about myself for others. First, because not doing it and putting on a fake character would betray yourself. What you are or feel. And second, because using templates of what "works" doesn't have to be effective anyway.

It doesn't make sense for me to create or produce against my own taste. Plus, I don't think I could pull it off. It's important to lose the fear of going against stereotypes.

OK, Edu – desert island time! You’re allowed to grab 3 albums before being stranded on an island. Which do you go with and why?

I'd take The Beatles' Revolver for its huge eclectic variety in songs, styles and voices. Also, The Clash's double album, London Calling. It's a sonic collage that's hard to beat. Strummer's social themes really draw me, and Mick Jones' melodic skill. And finally Hatful of Hollow by The Smiths. It was the first record I bought from them, and it hit me hard with its unique personality in voice, songs and guitars.

Edu, thank you again for taking the time to share your thoughts and experiences with us.

Before we say farewell, what comes next for you musically, and do you have any words of wisdom you'd like to leave us with?

I want to keep recording new material. I have a lot on the shelf waiting eagerly to see the light. That's why I need support, so through that feedback, I don't lose the spark to create.

Advice? To younger ones, I'd say any artistic creation demands a lot, and you can easily fall into frustrating perfectionism. If you lose perspective and stop enjoying it, that lost joy makes everything meaningless. And follow me on platforms and playlists and save my songs. I'll thank them in this life and the next. Greetings and best wishes to everyone!

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