Seluah – Red Parole (2012)

Seluah – Red Parole (2012)

Artist: Seluah
Title Of Album: Red Parole
Year Of Release: 2012
Label: Karate Body Records
Genre: Indie Rock, Popst Rock, Alternative
Format: Mp3 | Flac
Quality: 320 kbps | Lossless
Total Time: 50:03 Min
Total Size: 124 Mb | 326 Mb
1. We May Never Make It Home
2. The Other Side Of The Gun
3. Killing The Angels
4. Sail Straight Into The Bombs
5. Black Sand
6. Hell And Back
7. Disengage
8. The Winch (CD Bonus Track)
9. Elysian Fields
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. Louisville Eccentric Observer 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 moondrenched 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.

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