Aron
Veer
Portrait / aron-veer
Aron Veer has been at this longer than most. His first songs go back to 2010, and one of the earliest, Depression, already showed a writer unafraid of the darker corners while the voice was still finding its polish.
Then he mostly went quiet. After the Rain broke the silence in 2019, fuller and more assured, and the Honeycomb EP followed a few years later. The two emotional poles of everything he has made sit fourteen years apart: Depression near the start and the sunlit Good Days arriving only in 2026, the same person on both. Modern pop in the Harry Styles mould, warm on the surface, honest underneath.
Easy to love on first listen and better on the tenth. Sits naturally in pop, indie and feel-good or late-night playlists, whichever mood you bring to it.
An Aron Veer project by Lars Curfs.
Aron came out of the alt-pop that is all over the charts right now. Harry Styles is the obvious reference point: melodic, a bit polished, easy to like. I wanted a name to put that kind of writing under, and I wanted it to be the one I actually cared about.
So Aron gets the songs I genuinely love. And because of that I gave him a real life rather than just a sound. One early single, then a dark stretch where the only thing he made was Depression, then years off the radar entirely. When he came back he was lighter, and you can hear it. The arc is invented, but the songs at either end of it are not.
If you want the other half of this story, it is over on Owen Hartley's page. The two of them exist because I needed somewhere to put two very different kinds of pop song.