Graffiti Welfare: Revolving Shores
Graffiti Welfare steps into the Avant-Garde unknown through his experimental meditative album, Revolving Shores
Far from an amalgamation of singles sitting together alienly within an LP, Graffiti Welfare’s debut alt psych-pop album, Revolving Shores, is a tight-knit construction of experimentally composed singles that gel together to tell an anxious coming of age story.
Inspired by the catharsis of Tame Impala, Animal Collective, and Floating Points and tinged with the timeless appeal of The Beach Boys, Grateful Dead and Pink Floyd, Revolving Shores constructs a synthetic plateau; poised for optimistic introspection.
The LP molds trippy textures into entrancing ensembles with glitchy electronic rhythm and just enough vocals to bring humanistic warmth to the dynamic pieces.
The lead single Just Follow is a contemporary space oddity that shimmers with luminous reverb and cushioned discord around the vocals as they ethereally project into the mix, amplifying the sense of anchor-less dissociation around the Radiohead-Esque percussion.
Other standout singles in the sweetly tempered release include the Lynchian lo-fi lament, Volume, which satellites around our tendency to use Netflix as a pacifier and some funky Nile Rodgers chops. Followed by Synesthesia, a reminiscence to early Interpol alchemy, spliced with Leftfield electronica beats around blissful melodies.
Graffiti Welfare said: "Revolving Shores grew out of the feeling of helplessness as my childhood faded and grandparents passed away while I was coping with coming-of-age anxiety. By day, I was trying to finish my thesis and escape the clutches of graduate school with my sanity intact.
By night, I was trying to make sense of it all by recording something sincere, unique and tangible. Each track layers a lucid perspective onto the last, guiding a quiet meditation towards the unknown, before returning to waking life. Rinse, float, repeat - cause who knows where you will wake up next?
Have a listen and connect with Graffiti Welfare:
Photo Credit: George Lattimore
