Anuario (Porcausadela, 2014)
Sordo (Tato Azevedo, 2008)
About Hugo Arán
I met Hugo Aran in May 2009 in Ceutí (Murcia), where he went as a participant in the national competition for songwriters Cantigas de Mayo, a rare and wonderful initiative that, like so many other good things, brought the collapse of the dismal years ahead. Hugo in those days, was half of the duo Tato Azevedo, where delegated acoustic guitar and his companion Pablo Acevedo, already in itself seemed almost incongruous. A singer who can’t play guitar and delegates this responsibility in a second? I soon understood that this was the least of the oddities of the tandem. Paul stroking the strings with the delicacy of one who tabled a limp hair and Hugo owned a sweet, mellow, soft voice. The voice of a sensitive boy just clicking to show their vulnerabilities. As if inviting a hug to whomever was listening.
I was part of the jury at the contest and although I don’t remember clearly the course of the discussion, I guess my enthusiasm influenced Tato Azevedo as he had just obtained the third position. The following year they repeated with an appearance and reached second place, and the virtues had already known it added an extraordinary piece, “The slope of the dog”. A poignant song about memories and childhood friends who seemed written for each listener who had a chance to hear the beautiful feeling that Jonah Trueba summarized with the title of his first feature film, “Todas las canciones hablan de mi”.
They have spent the years since with no competition involved, Hugo flew solo to make “Yearbook”, and with this record, it confirmed the suspicions of his good talent. As it turns out, the guy also knows how to play guitar, rushing to the fineness of a troubadour oceanfront barefoot and with feet planted in the sand. Hugo converged in the Mediterranean and of course, the voluptuous Brazilian nitrate; Drexler and Márcio Faraco, made harmony and unexpected surprise in every verse.
Fernando Neira, El País
Hugo Aran (1980, Barcelona), musician and self-taught lyricist, and in his first stages was attracted to the guitar and Brazilian music, which can be felt in many of his later compositions.
In 2004, he traveled to Brazil where he met and was deepened by the rhythms and harmonies of the country. This period shows the start of his writing and composing of his first songs, remixing and taking a major reference pattern from Chico Buarque, Marcio Faraco or Antonio Carlos Jobim and others…
In 2007, he moved to Granada and formed the duo Tato Azevedo, along with Pablo Acevedo. Participating in various songwriting competitions, they are awarded many prizes that allow them to record their first album “Sordo” (2008). In 2011, Hugo Aran begins his solo project putting together a repertoire that mixes styles such as bossa nova, baião, samba and jazz.
At the end of this period he wanted to record “Yearbook” in Granada, with the production help from Aure and Carlos Ortega Narey and a collaboration with musicians of diverse music origins. He adopts an intimate and simple language, avoiding clichés and platitudes. Songs for a world spinning ever faster and cries: sometimes in silence.