included is a Word document with credits as well as the lyrics.

Here it is in mp3 ripped @320 - Presley - The Mansion MP3 - this file is a little over 100mb http://www.mediafire.com/?zjmlnzza1gg

Here is the wav file. That file is almost half a GB so...yeah.
http://www.mediafire.com/?wgmoq1m52an

"The Mansion"
The newest record, "The Mansion" was recorded and mixed at Analog Divide with Tim Shea in 2007/2008. Mastered by Kramer in the fall of 2008. The Mansion is an 8 track full length album (the first since...the last one) which is again loosely based on a "concept". The album summons a darker mood than earlier releases, but still retains the melody present in older songs. The majority of the songs on The Mansion were culled from long improvised "jams" that were recorded, listened to and eventually put back together by the band to form songs, ending with the 13:00 journey "The Green Attic".

*** Our new record is just about done. The master is in our hands; it sounds good, and we should hopefully have it out by the end of 2008. Artwork is coming together, as soon as I can figure out how to spell our three names it should be all set. The record was recorded by Tim Shea (Green Magnet School, Black Helicopter) and mastered by Kramer.


*** We recorded a cover song by Boston 90's band The Swirlies for a tribute album which we think came out pretty awesome. It has our friend Amanda Guest on, pardon the pun, guest vocals. There is a tambourine on it, and man did we smoke some cigarettes that day. There is more info on when this comes out (download only) at this place: http://davemh.com/swirlies.html

*** A bunch of our music is going to be in a movie by some nice folks from Michigan, Vallonicka Films. The film is called "Sometimes in Life" and is currently being shopped around film festivals. We appear alongside Modest Mouse, Ozomatli, and Michael Franti and Spearhead. You can read more about it, and watch the trailer (which has our music exclusively in it!) here: http://www.sometimesinlifethemovie.com/



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Now playing: Sleep Chamber - Oral Maze
via FoxyTunes   

We are almost done with our new record. The mixing is just about done, followed by mastering as soon as we can. Hopefully we can get it out by the summer if all goes well.

About the record:

Musically, the record is our most ambitious to date, and we all think it finally captures what we've been doing live for the last couple of years. There are no forty-five minute songs or anything, but all of the music on this recording was "written" by the three of us over the last few years via recordings of improvisations in the rehearsal space. We found sections we liked, put them together with other parts and made songs out of them. The one exception to this is the final song, the 13 minute "The Green Attic" which is pretty much exactly how it was originally improvised, lyrics added later.

 

Also of note is the addition of Aarne singing some back up vocals on three of the songs.  

The track listing for "The Mansion" is:

 

(The Demented) Owl

The Hallucination Rug

White Gazebo

Psychotic Owl Battle Pt. IV

I Am the Son(n)

Sheep*

Black Gazebo (Sonic Squirrel)

The Green Attic

 

* - posted here as Rudy Sarzo

Presley is going into the studio at the end of June to begin recording our 4th record. We have some cool plans for this record that will hopefully be more solid once we start recording. The most important piece being that it will be more than one disc, the rest of the details will be announced as we figure out exactly what the fuck we're doing. One idea is to have one disc be live recordings and one to be studio...we'll keep you updated here and on our other website www.presleytheband.com with what the final decision will be....we do know it will be at least two discs.

Some songs that will definitely be on it are: Rudy Sarzo, Fuck You Linda, and a re-recording of Donald Fagen. Also our newest "group of connected songs ala 'Elizabeth'", "The Mansion" will be included.

The plan is to have this out by this time next year. In the meantime, we'll see you at a show, we have quite a few coming up and some more to be added shortly.

From the fall of 2005...in the Noise Around  Boston....

Presley – If You Don't Like The Effects, Don't Produce The Cause


"Classic" rock will continue to be hailed as such because of its adventurous nature and willingness to continually push the boundaries of songwriting and performance. Somewhere along the way the music lost its footing on the path carved out by bands that played the Fillmore Auditoriums in the 60s and 70s like The Allman Brothers, Grateful Dead, Deep Purple, Santana, and Chicago, and started to sound like…well, the worst aspects of those bands, i.e. the parts where the players forgot about the song. Revisionist history has made improvisation a dirty word in rock 'n' roll, which has made too many bands put themselves into easily classifiable boxes. Musical freedom has become a road seldom traveled by the multitude, which is why I find myself getting antsy after five songs and/or 20 minutes of most sets. What strikes me most about Presley is that their continually shifting tempos, rhythms, dynamics, moods and textures can hold my interest while they play what seems like one song for 40 minutes. They have a similar approach to electric-era Miles Davis in that they'll take pre-arranged parts and work them together through jams that'll have them sounding psychedelic, ambient, metallic and funky at any given moment. If I were to classify them I'd say that they're a psych/stoner rock band that holds equal appeal for potheads, beer drinkers and hell raisers. Christian Campagna's heavily effected and often droning guitar lines are augmented by Aarne Victorine's melodic bass and Breaux Silcio's drumming, which ranges from subtle cymbal splashes to near blast beat pounding. To cop a line from their third and latest release, ***Elizabeth***, they're musicians with deep record collections who're "Stuck in fuckin' Providence with the Memphis blues again" somewhere between Dylan and ***Daydream Nation***, Husker Du and Hawkwind.
"I guess the fact that we generally don't use a setlist," says Campagna on what sets Presley apart, "and have been playing a good amount of shows where we just string songs together without stopping. We have a number of songs written that don't have endings for the purpose of opening them up and trying to go somewhere else completely different. My roots will always be in traditional rock concerts, but after spending a good amount of time at shows where stretching out songs and creating music through group improvisation is normal, we wanted to try to adopt that aesthetic to more of a loud rock sound than most bands improvising on stage that I go see live. My influences come from all over the place. Some of my favorite guitar players are Adrian Belew, Jerry Garcia, Robin Guthrie from Cocteau Twins, and Richard Thompson. I love their approach to music and probably think of them when I'm sitting around at home playing. At one point at the beginning of this band we accidentally stumbled upon stretching out songs and improvising. Certain songs started getting longer in rehearsal and we discussed trying this on stage in front of an audience and have pretty much done it at every show we've played. One goal was to never play the same set, and to have every show be completely different from the last one. This has worked great for us so far and we're happy with what we do. I guess what we've set out to do with this band is frustrating and rewarding, frustrating in the sense that we have a hard time fitting in with many bands we play with, rewarding in that we can play a show with no real idea of what is going to happen. Granted we run the risk of alienating audiences, but I think the day we get on stage and play a bunch of four-minute songs that are all written with strict beginnings and endings it won't be rewarding anymore.
"Coming from a musical family, music has always been a huge part of my life," he continues. "My dad worked for A&M in the 70s and 80s and we got to see a good amount of concerts at a pretty young age. Seeing KISS as a kid made me want to play music. Later on, my cousin Al inspired me to actually go through with it; he was a founder of Boston's SSDecontrol and his drive in that band was intense. The three of us have a great understanding of each other when it comes to playing music. When we originally got together the ideas were pretty loose and miles away from what we do now. I remember thinking it would be a great idea to sound like Sunny Day Real Estate meets My Bloody Valentine. We played together for almost a year before playing our first show. We had a second guitar player for a while who recorded our first two records with us, and our sound definitely changed when he joined, and again when he left in 2003. I don't like the first record at all. It was the first record I ever recorded where I was actually singing and the results are pretty weak in my opinion. The vocal tracks were all pretty much done in one take, as our engineer wasn't interested in having us. I think where it was our first batch of songs our sound was still developing. We do play one song off of the record still, 'Donald Fagen.' Our second record we did with Steve Austin of Today is the Day and that was one of the most amazing experiences we all have had in the band. He was great to work with, a super nice guy, and ended up playing keyboards on a good chunk of the record after coming up with some parts he thought would add some depth to the record. That experience and record are something I will always look back on with pride. The most recent one we recorded with our friend Jason is our current favorite. Jason had seen us live a number of times so he was able to capture our sound as close as anyone has. The songs are pretty straight forward and all in a normal tuning as opposed to the DADABE tuning the majority of our songs are in, yet we were able to stretch them out a little live right there and we all agreed that for improvising in the studio in most of the songs in one take came out pretty close to what we do live."
Campagna has an addictively readable Livejournal site, and this revealing entry a few years ago: "With the huge amount of jazz mp3s from the 20s, 30s, and 40s I'm loading on to my hard drive I'm bored with rock music again. I bought that Cure record last week and it's about as exciting as me getting up a few minutes ago and taking that sip of water, just boring guitar and vocals music, too wordy. How many obsessive love songs can you hear before you need to listen to someone who's dead now blowing a horn for ten minutes instead? That shit excites me. These shitty sounding recordings from 1932 with a simple little melody and a solo or two have so much more power and energy than anything anyone is going to release this year. My friends, coworkers, people I know on the net, etc. will keep eating all of this garbage up though, never looking back to see where all of this began. All of this is having an effect on writing lyrics now. I don't want to sing. I fucking hate writing lyrics. I drag my feet with this process, and the results are always awful. I can't read them, or listen to my voice singing them without wanting to go deaf and blind. I'd like to turn the band into a band that just goes on stage and improvises for an hour and leaves. We're at the point where nobody really cares anymore anyway, so why now? I don't think any of us have any ideal to impress anyone at this point. I could certainly care less about the 'rock scene' or whatever you want to call it."
To what does he attribute the marked drop-off in club attendance in recent years? "The short obnoxious answer would be because there's nothing really worth going to see, but I guess the whole world of music is different from where it was in the 80s and 90s. Back then there was no internet, and things were generally slower. You would have that one friend that would come to your house and say, 'Check out this record, this is The Wipers' – now everything is so fast and people have shorter attention spans and you can buy something on the internet and find out that 'If you like this, you'll also like this Avenged Sevenfold record or whatever…' People are so taken with celebrity now. They spend all their money to see these bigger acts and have no idea that there is this whole underground music scene going on, especially in Boston. I would think the average person going to see someone like Meatloaf or Sting wouldn't know what to do with themselves at a real rock show. I saw Eric Clapton for the first time a few years ago and it was the most boring concert I ever saw. The crowd was just sitting there listening to him plod through his hits. Galaxie 500 live was more exciting than that show. Although the scene is frowned upon in most musical circles, the jam band scene is doing a great job of keeping up the tradition of what a rock concert was like when I was younger, at least in terms of sheer energy."

(Mike Baldino)

Elizabeth Reviews

 

http://www.daredevil.de

Presley-Elizabeth CDEP

Damn...this is pretty trippin´...I mean after I smoked my daily sport-cigarette, but also with a clean mind you will dive really deep in the musical world of Presley. Really long instrumental parts with half distored guitars...suddenly the distortion turns to ten and a f**ing storm of heavy riffing is breaking loose...smooth parts...accoustic parts...then the vocals set in and christian is a good singer....he´s not really melodic, but it´s emotional and the voice perfectly fits the partly really noisy riffs and gives them the last needed kick. This music could be also something for Sonic Youth and old Pumpkins fans...it´s maybe a bit more straight, but surely as hypnotizing as these two bands in their best times. Also mentionable...the fat and creamy sound of this recording...guess the three guys in Presley found their sound...you should check these guys out...they have some mp3´s on their homepage.

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http://www.entertainment.inuk.com

The follow-up EP to the self titled album reviewed on this site a few years ago, Presley are still moving head-long into improvisational noise-scapes using the standard set-up of guitar, bass and drums. When the mood feels right the band will play on, hypnotising and forming experimental passages, the opening song 'Hunting The Dingo' is 9 minutes of unstructured no-wave while EP-closer 'Skies Filled With Wizards' is an eye-watering 21 minutes in length. You need great patience to sit though the last song as all kinds of weird sounds emit from the speakers, in line with Presley's notorious live gig where they click into a rhythm of walls of sound. The intriguingly titled 'Jeff Goldblum' is a brief 4 minutes in comparison and one of the most accessible tracks. The unnerving spirit of Fugazi is apparent with discordant jagged guitars ragging away as Christian Campagna's monotonous Hamilton Page styled vocals become like another instrument to the song rather than the defining factor.

The title track is quietly reflective, taking the Mogwai influence to the fore. Deftly played and with retrained loveliness, Presley provide a little lightness to their music, which continues with 'Unfortunately You've Lied Again', chugging guitars and cymbal crashes eventually taking the song as an intense driven song makes itself known. Combustive and dripping in feedback, 'Unfortunately You've Lied Again' is clearly a highlight on a record with plentiful of great moments.

When a band what to push their song structures in unconventional ways, the song writing is prone to suffer, with a lack of a nagging melody to compel repeated listening. Between all the channelling of guitar feedback, incessant drumming and propulsive bass lines, the songs remain unmemorable once they have finished. During a live setting these songs would overcome the audience as one long wall of sound, but in the comfort of a living room, part of the impact is lost. However, as a purveyor of noisy landscapes and improvisational exploring, Presley remains a band of the highest order.

 

http://www.monotremata.com

I can't recall exactly how their earlier stuff sounded -- it's been a while since I heard it -- but I'm pretty sure it didn't sound quite like this. The band, currently a trio of Aarne Victorine on bass, Breazu Silcio on drums, and Christian Campagna on guitar and vocals, has morphed into a spacy but tight improv / jam-rock band somewhere between Phish, Mogwai, Godspeed You Black Emperor! (the first album, at least), and Hawkwind, only with a bright and poppy center. Needless to say, this is swell stuff to hear. "Hunting the Dingo" is a brief pop song buried somewhere in the middle of over nine minutes of escalating free-form interstellar overdrive, complete with driving bass and drums, psychedelic guitar and feedback, and an amorphous song form that twists and turns until there's no way to predict where it's going anymore. Twangy guitar riffing and a brilliant, propulsive rhythm section open "Jeff Goldblum," a near-instrumental with some lovely chord changes and drone happening right before the dense layer of sound that accompanies the verse, then return when the verse ends. The tone and structure of "Elizabeth" reminds me of Tone -- it starts out as a hypnotic riff and eventually morphs into something out of a spaghetti western soundtrack, and by the time the verse comes around, the sound has become sparse and ambient. Like the previous two tracks, "Unfortunately, You've Lied Again" is relatively short (5:34), at least within the confines of a reasonable pop song length, and probably the closest to an actual unadorned pop song on this disc, filled with heavy but dreamy drone guitar and pounding bass to go with some of the busiest drumming of the album. The final track, "Skies Filled With Wizards," is a long (21:12) jam-intensive freakout that begins with pretty (and heavily reverbed) guitar and is reminiscent of King Black Acid in its lovely sound and flow. Without going into a measure by measure description, suffice to say that it starts out pretty and grows increasingly psychedelic (and musically busy) as the piece unfolds. This is frankly amazing stuff, and completely unexpected -- the surprise of the issue, probably. Droneheads and fans of poppy-sounding improv need to hear this.

We've just recorded three new songs this past weekend, or rather two newer songs (The Terrible, and John Ritter) and one old one (Isaac Hayes). One of these tracks is going to be used on a compilation coming out in early 2006, folllowed by a show with a number of the bands involved in April (this is listed in our "upcoming shows")...so yeah, the songs sound great so far, we're all real happy with how they came out thanks to Jason again for capturing our sound.

Our "break" to work on new material and get aquainted with our new rehearsal space is being interrupted a few times in January with three shows around the area in a short period of time. We are more than happy to play these shows as we are playing with some great bands we played with at some point in 2005 including Palace in Thunderland, Easter Bloodhounds and Heretic's Fork. Check our shows calender section for more detailed info.

See you in 2006

-Christian

Thanks for all the kind words here, and at the show last weekend. We had a blast. Every band there put a lot of heart and soul into their sets, and the vibe all day was real up. We got through three songs all segued together. I think our last ten or so shows have all been non-stop music for 40 minutes or whatever. For anyone who cares, we played Fuck You, Linda, a brand new song The Demented, and Donad Fagen, one of the oldest songs we still play.