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Seluah, "Phase III"


In 2002, Seluah’s debut EP launched a mystery rife with ethereal melodies and dub rhythms, allotting the band 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, Seluah went dark for six years while continuing with their other bands (Rachel’s, Boom Bip, People Noise) before reuniting in September 2010.

Seluah’s 2012 debut full-length album Red Parole was much broader in scope and instrumentation than its EP. The bulk of Red Parole reflects an early ’70s mammoth guitar aesthetic, both fuzzed out and sweetly melodic, punctuated by mesmerizing vocals that glide over each track. Seluah performed most of the material while opening for TV On The Radio in the fall of 2011.

The following summer, Seluah performed a live score to Tod Browning’s 1927 silent film “The Unknown,” starring Lon Chaney and Joan Crawford, as part of Flyover Film Festival. The set incorporated songs from Red Parole, as well as doom-laden interludes hinting at newer material to come. Last summer, the group was invited to perform at The Forecastle Festival alongside headliners Outkast, Beck and Jack White. Seluah gained an ally in Henry Rollins, who exposed “Black Sand” and “Elysian Fields” to 500,000 weekly listeners during his KCRW radio show.

Seluah embarks on 2015 with its second full-length, Phase III. Using longtime collaborator Kevin Ratterman’s new dream studio, the band conjured stark, foreboding imagery on its most lurid venture yet. As is especially true with “Nanon,” Phase III depicts a dark, hypnotic world you can’t help but visit more than once.

Album Credits:
All songs written and performed by Seluah
© 2015 Seluah Music (BMI)
Andrew Killmeier: guitar, keys
Matt Johnson: guitar
Andrew Peace: bass
Edward Grimes: vocals, drums
Christian Frederickson: viola
Executive Producer: Les Pollitt
Engineered and mastered by Kevin Ratterman at La La Land Studio in Louisville, Ky.
Lacquer cut by Roger Seibel at SAE Mastering
Artwork: Cesar Perez Ribas
Front cover photo: Aron Conaway
Band photo: Meagan Jordan
Contact: seluah@earthlink.net

“Throughout the eight tracks on offer the playing remains exemplary, the band creating an identity, a unity of sound that means the collection sounds like a complete album to be listened to in one sitting, preferably at a decent volume, allowing the dynamics of the music to shine through.” —Terrascope

It’s very difficult to find the right words or choose one song to represent Seluah’s hauntingly beautiful record Phase III. Hence, I’d definitely suggest to take Nanon as a appetizer but to listen to it in its entirety afterwards, preferably on a late summer evening. —Road And A Track

“It’s more rock than post-rock, although by a small margin, with an almost reticent passion that can sometimes feel aloof. That’s just an illusion, however, as just below the atmospheric surface simmers a weirdly-dangerous vibe that flirts with violence.” —Louisville Courier-Journal

“‘I think we’re the most comfortable we’ve ever been together in terms of accepting the fact this record is pretty dark, and we’re just going with it confidently without looking over our shoulders. We’re not the gloomiest guys around, and we like music that’s a bit ‘happier’ sometimes. It just turns out when the four of us play together, it’s generally been that way.’” —LEO Weekly (Interview)

“With their latest effort, we’re gifted seven brand new songs, each with their own unique personality while at the same time exuding a similar purpose. It’s an early Pink Floyd meets Spiderland type of record, in the way that it combines atmospheric indie rock with building, almost progressive song structures. —Never Nervous

The Voice-Tribune Interview

“… the band is able to pinpoint its focus on the elements of the first album that worked and further exploit them. —Vinyl Mag

“The new album picks up right where Red Parole left off, with ‘Experiment in Horror’ setting the tone for a set of moody, at times menacing psych-noir explorations.” —Blurt Online