"If you’re keeping score, this album ("Constellations") is 19 songs shorter than the last disc from Greg Svitl’s odd musical vision Teething Veils. However, what he lacks in quantity he makes up for in quality. The two songs here, both 25 minutes each, are actually the same song, with the second song being the first song in reverse. “Constellations,” the forward song, builds dense atmospheres with intricate guitar work steered by Svitil’s baritone voice. “Dimmer” is where the tape reel is played backwards and remixed, and is a sadder, eerie affair that doesn’t resemble the song it mirrors all that much really. An unusual listen and ideal for ears that are tired of the mundane."
-New Noise Magazine (4 out of 5 stars)

"It would be easy to simply call this track post-rock, but there's much more going on than. The poetic lyrics detail the reflective isolation after the end of a relationship in a way that's simultaneously direct, thoughtful, and otherworldly. This is music that tempts you to enter into the darkness that envelops every single note and every single word it contains. I bet if you take the time to listen, you'll find a way to enjoy every emotionally devastating moment of it."

"Slow-moving arrangements, full of intense shifts in mood and texture, bury listeners beneath a mountain of weighted guitars and crashing percussion, leaving them alone to explore feelings of loss, anxiety, frustration, and even a little joy...The album’s downtrodden tone builds, evolving into something that is emotionally rich and, at the same time, eerily cold. It’s a gripping dynamic that conjures unsettling images of emptiness, only to fill the void with just enough interaction to spark an overwhelming sense of relief. And Constellations provides an uninterrupted arena for listeners to explore their emotions: The album is comprised of two tracks, both clocking in at around 25 minutes. The timing isn’t a coincidence: The B-side of the album is a mirror track, crafted in full from the A-side’s reel of tape played backward...whether you listen to Constellations as two distinct tracks or one long, ambitious arrangement, its ability to drown out distractions and stir up real emotions—good or bad—is refreshing, exhausting, and strange."
-Washington City Paper

"People who listen to music purely for entertainment, looking for the quick, tuneful ear candy fix, will certainly run screaming from Teething Veils. But for those who like to dissect every moment of an album, nearly trying to get inside the songwriter's head and see how they perceive the world, this is nothing short of fascinating."
-The Daily Vault

“This is not a playful album. Velorio’s 21 tracks move slowly, pulled downward by the weight of their melancholy. With stark and vivid detail, Teething Veils’ frontman Greg Svitil sings about staring at wounds as they slowly close and morphing into a bitter man, giving Velorio its heft—about 10,000 pounds of it.  Svitil and his conspirators perform the rustic, low-fidelity, and low-key tunes with a conviction that preserves a soft glow of intimacy.  His singing voice sounds a lot like talking, and it tends to manifest in gentle whispers or groggy sighs, like the sounds of a tearstained boozehound emerging from the fog of an unplanned nap...There are moments of peace, even joy, in these 21 songs, like in the weezing accordion melody on the jaunty “We Walked Through Leicester Square.” Teething Veils knows its way around a funeral procession, but the band can still make misery sound lovely.”
Washington City Paper

Names like Leonard Cohen, Lee Hazelwood, and Scott Walker are hardly among the more common musical reference points in DC’s indie rock and underground music scenes, but those are exactly the artists that Teething Veils calls to mind on its ambitious debut album, Velorio.  Over the course of the album, Teething Veils’ singer/ songwriter Greg Svitil examines the shattered pieces of past relationships, tracing the hidden contours of heartbreak, memory, longing, and obsession through an unavoidably personal lens.
-The Vinyl District

“Velorio” is subdued, shrouded in sadness, and compellingly diverse. Accordion waltzes, cello, viola, piano, and organ complement (and many times dominate) Svitil’s guitar, his vocals but an instrument in the challenging soundcape, not buried in the mix but not overwhelming it, either...With all of the instrumentation available, it has plenty of room to open up like a bottle of bold red wine, releasing aromas and flavors to you as the sprawling 21-track album progresses...This isn’t your “indie” album, if by indie you mean genre. If you mean indie in its work ethic, you got it.”
-Mobtown Breakdown 

“Svitil and company have the space to spread their wings and do they ever. From accordion dance music to shorts bursts of metal to ’60s inspired pop and just about everything in between, the amount of textures explored here is as well done as it is shocking. Heavily on the maudlin side, Velorio is far from happy music, often detailing dissolved relationships, though much beauty is weaved amid the harrowing organs, aching violas and Svitil’s deep voice that speaks and sings.”

“An epic collection of melancholy, nasal-sung, off kilter pop bee stings. An by pop I mean metal, 60s organ weirdness, whatever it is Jad Fair does, chamber music, nightmare soundtracks, church dirges, contemporary classical, and Brian Wilson on downers music."

“It begins with a moderate tempo that induces a light psychedelic rock feel akin to Richard Buckner. Vocally, it's closer to psyche-folk mast Mark Fry.  This was a lovely set that flew by. When I fall into a trance like this, these 32 minutes feel more like 10.”
-DC Rock Live

“"Cobblestone" (is) a gravelly narrative that seems to concern the harsh light an environment can place on a fraught relationship. Yeah, there's some exposition, but the most stirring moments wax impressionistic: "The afterglow is hanging, the gentle lull is prescient, the midnight moon perspires, dripped across our window," Svitil sings in a tense rasp.”
-Washington City Paper