Seluah, "Red Parole"

Seluah, "Red Parole"

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In 2002, Seluah’s debut EP launched a mystery rife with ethereal melodies and dub rhythms, allotting them a singular trippy space in Louisville’s well-documented music scene. LEO Weekly hailed it as “one of the best records to ever come out of Louisville” and Ear X-tacy called it “a psych-dub masterpiece.”

After brief stints supporting Rachel’s, Matt Pond PA and Shipping News, the band went dark for six years while continuing with their other bands (Rachel’s, Boom Bip and People Noise) before reuniting in September 2010. In March 2011 Seluah again partnered with engineer Kevin Ratterman (My Morning Jacket, Young Widows, The Broken Spurs) at The Funeral Home to record Red Parole, an epic full length much broader in scope and instrumentation than their debut EP. This time out the band allotted two weeks to immerse themselves in the heavier songs resulting in a dark guitar-laden record with a massive bass and drum sound. The bulk of the record reflects an early ’70s mammoth guitar aesthetic, both fuzzed out and sweetly melodic, punctuated by mesmerizing vocals that glide over each track. Most of the material was performed when Seluah opened for TV On The Radio in fall 2011.

The record opens with “We May Never Make It Home,” a warning letter of a long maritime Odyssey, enriched by fellow Rachel’s alums Christian Frederickson and Rachel Grimes on viola and vocal. “The Other Side Of the Gun” is a revenge tale set on slow burn that peaks with a bloody release. “Black Sand” is an eight-minute, Gibson-fueled assault running over with moon-drenched lust. “Hell and Back” sneaks in with a Lynchian wilderness that gives way to a lusty rockabilly stomp with a clear nod to Scotty Moore. “Sail Straight Into The Bombs” is mapped by an insistent Rhodes that’s engulfed by huge walls of guitar and a mile-high snare drum. The ambient “Elysian Fields” ends the record with a melancholy spacebound eulogy, expansive harmonized vocals soaring over drenched beds of guitar and vibraphone. Red Parole is a heavy, noirish guitar album and comes with a mandate to be played loudly ...


A Spiderland for a new generation, Seluah’s long-gestating first full-length album is nothing short of a masterpiece. A hypothetical soundtrack for a chilling, sexed-up Nicholas Ray film noir filled with double-crossings, misbegotten sex and stolen money, Red Parole is a precise, sensual overload of cutting riffs, floating rhythms and haunting vocals.—Peter Berkowitz, LEO Weekly

Red Parole brings back memories of Louisville’s rock dominance. Deep, psyched-out, multi-genre stuff. —Steve Marchese, executive producer, Webby Awards / editor,

Seluah’s sound is among the most distinctive in the recent history of Louisville music, one where the low thrum of the bottom end slides into warmly aggressive guitars, which then point toward Edward Grimes’ ethereal voice, floating above it all as if sampled at a seance. It’s music as altered state. —Jeffrey Lee Puckett, The Courier-Journal

Throbbing menace envelopes Red Parole, but its melodic core, as thin as a piece of string, is as hard — and just as sharp — as an unplucked diamond. —The G-Man World, Ireland

Seluah wrest the meat from the bones, the basic instincts of survival … this is primeval … —Indie Bands Blog

Lovely downtempo pieces fight for space alongside rockier, guitar driven moments on the brilliant new album from Seluah. —Fairly Random, UK

Red Parole retains the brooding nature that inhabits (and marks) the band’s genetic code, a full length that moves in a heavier direction, brings a plumper guitar sound . . . a soundtrack for an intense unmade film that was mostly shot in the dark.” —American Gloam