George Lattimore is a Denver-based singer/songwriter, multi-instrumentalist and creative mastermind behind the emerging psych pop recording project Graffiti Welfare. Lattimore grew up in a music loving home, where he developed a voracious ear, listening to anything he could get his hands on.
Eventually, the Denver-based multi-instrumentalist discovered Animal Collective, Tame Impala, Radiohead, Brian Eno, Miles Davis and a few others. For Lattimore, listening to Tame Impala’s Lonerism was a life changing experience: The first time he heard the album, he bought a Roland Juno-G keyboard and started writing and recording his own material.
Lattimore used that Juno-G until the screen died; but that was fine because at that point, he was ready to grow musically and to become much more serious at pursuing a career in music.
He moved from Austin to Denver for grad school, then recorded and self-released an EP on Spotify that began to receive some positive attention. Buoyed by the positive attention from his debut, Lattimore felt that he was ready to make something much more serious, defined and complete — his full-length debut Revolving Shores.
Written, self-recorded and self-produced over the course of five years, Revolving Shores was mastered at Golden, Colorado‘s The Wheelhouse Studio. Last month, I wrote about, the somnambulant “Volume,” which evoked a half-remembered yet somehow very vivid dream centered around Lattimore’s laconic delivery, glistening synth arpeggios, reverb-drenched, blown out beats and a wobbling bass line.
Lattimore’s latest single “Just Follow” is a slow-burning, shoegazey track centered around the Denver-based artist’s laconic, reverb-drenched delivery, blown-out beats, atmospheric synths paired with textured guitar soundscapes. The end result is a song that continues a run of somnambulant and gauzy material.
