Tuesday March 1, 2022

LIVE MUSIC IN-STORE!

***

Ben Eisenberger

Omaha native Ben Eisenberger’s debut album Three Islands was an homage to a culmination of life events big and small. The hushed immediacy on his small debut record is a testament to the enduring legacy of folk music; When overwhelmed by beauty or destruction, the acoustic guitar and unadorned voice will always be close at hand. His sophomore effort Soloists, out December 11th, 2020 via Brooklyn label Plastic Miracles, is a more flushed-out continuation of these themes.

“Eisenberger's voice moves from a high pitch that is reminiscent of Paul Simon at times to lower and warmer registers, but in any case, it always seems to come from the past. Even his compositions come directly from the Greenwich Village of the sixties and just listen to a few notes of his guitar to find yourself catapulted into one of those smoky and a little gloomy places where, thanks to the Open Mic evenings, young hopeful artists from all over the United States performed”

- TRISTE on Soloists

Ben Eisenberger is a solo folk artist and multi-instrumentalist living in Omaha, Nebraska. Outside of the traditional folk world, Ben plays in the indie rock band Hussies and free-improv/new music ensemble Screaming Plastic.

Teething Veils

Teething Veils began in 2006 in Washington, DC, playing very occasional live shows at places such as the Montgomery College Planetarium and their own living room at 611 Florida Ave. In 2013, they released the Velorio double-LP on the artist-run DC-and-Santa-Fe-based collective Etxe Records. The album was followed by three other LPs (Constellations, 2014; Sea and Sun, 2017; and, Canopy of Crimson, 2020) and a 7” single (Dinner Date, 2015), also through Etxe. They have shared their music live with audiences in 37 US states plus the District of Columbia, and two Canadian provinces. The band members also play, or have played, in The Antiques, Daamsel, Kohoutek, The OSYX, Parlor Scouts, Prom Concussion, Seamstresses, Silo Halo, and Void Vision.

"These little songs—sepia-toned yet searching, eccentric yet melodically inclined—add up to something that feels like its own pocket universe, sometimes wistful, sometimes the kind of menacing only achieved via a late-career Tom Waits death rattle." -Washington City Paper

“If the latest from this self-described chamber-folk outfit feels funereal, it isn’t just because bandleader Greg Svitil sings like a eulogist, or because Hannah Burris knows how to make her viola weep. It’s because funerals allow emotions to be purged and smothered, making time feel stranger than slow.”

-Chris Richards, Washington Post