Although, Greg Weeks is best known for his work with the band Espers, his influence on the North Eastern folk scene goes far beyond that.
Greg Weeks’ musical career began in New York City, where he was part of a mathrock ensemble. After discovering the works Leonard Cohen, Weeks was inclined to pick up an acoustic guitar. He delved deeper into the folk repertoire and came across Nick Drake, who inspired him to experiment with fingerpicking and alternate tunings, which he further developed by listening to American Primitivists, like John Fahey.
Weeks became fascinated with 60s and 70s progressive folk, particularly the more obscure european bands like Mellow Candle and Comus. Most of these records were very rare and almost impossible to find, the records having usually been printed in limited quantities to begin with. As a result, Weeks set up the New Sonic Architecture label specifically to import CD reissues from Europe. He also connected with the british folk magazine Ptolemaic Terrascope, of which he was an avid fan. Through their online forums, Weeks found a long-sought community as well another possibility to share music.
Ptolemaic Terrascope also helped Greg Weeks fund his first important solo release, Bleecker Station (2000). The rather short album features a collection of simple acoustic songs, deeply rooted in folk tradition. This was followed by Awake Like Sleep (2001), on which he worked with Meg Baird and Brooke Sietinsons. Weeks moved to Philadelphia and the trio would soon reunite again in the form of Espers.
In Philadelphia, Greg Weeks established Hexham Head, his own recording studio, in order to produce and distribute local acts such as Fursaxa, Josephine Foster, Marissa Nadler, The Baird Sisters and other Espers-related projects. He is also the head of the Language of Stone label and is still musically active, with Espers and on his own. Weeks is a founding member of The Valerie Project.