Graffiti Welfare is a Denver, USA-based alternative psych-pop artist and producer that has just caught my attention thanks to his debut album. Exploring what it’s like to come of age in the 21st century, it’s called Revolving Shores.

By Graeme Smith

Revolving Shores opens with To Be It. Featuring the words of philosopher Alan Watts, it starts the album’s journey in a thoughtful way. Sonically, it’s delicate, with electronic textures and a sense of reflection. Things slowly build with percussion hitting a blissful crescendo. It’s a strong start.

Just Follow takes things in an experimental direction, with a mix of cinematic and ambient sounds centred on echoing guitar licks and dreamy vocals. DejaBlue has a suitably looping and melancholic feel to it while Good News fizzes along with a sense of resigned urgency before suddenly ending. Volume rounds off the first half of the album with textured moodiness. It’s a highlight.

Echoes of Our Sound opens the album’s second half with a moment of bright whimsy before Synesthesia gives us some distorted electronic jazz. Nothing Ever Changes is a taste of ambient lo-fi with pleading vocals. Missing the War is an unsettling, spiritual psych-rock odyssey. It’s another highlight. Seashell closes the album with a beautiful mix of industrial heaviness and bright EDM.

Revolving Shores is a intriguing collection the gives us a sonic soundscape that’s difficult to pigeon-hole genre-wise. Fans of the likes of Animal Collective or Tame Impala will find a lot to love about what Graffiti Welfare is doing with his music. He is truly bringing something innovative to the world and Revolving Shores acts as a wonderful introduction to his point of view. You can check it out below.