http://www.kerrang.com

Devilish Presley – Memphisto
November Tenth Rec.

[KKKK]

'I saw The Bride Of Frankenstein have sex with The Ramones, Marc Bolan and Joan Jett' claims lead vocalist Johnny Navarro on 'Hammer Horror Glamour' - neatly encapsulating nearly everything you need to know about Devilish Presley in one cooler-than-thou- line. A deathrock duo (completed by bassist Jacqui Vixen and a drum machine), they keep things necessarily simple, trading on stomping beats, shimmering riffs and big. easy cartoon hooks.  Add a bit of Cramps - inspired psychobilly strut to the mix, throw in a shades - of - Specimen slice of original Batcave  days goth and you have a glam-punk B - Movie horror album that's sleazy, stylish and, above all, fun.   

DEVILISH PRESLEY
Memphisto (8.5/10)

Label: November Tenth Records

This is the London duo's third album and it's more raw than their previous two, something that's helped them fill support act places for The Meteors and Jayne County. These guys inject the rock into roll and the garage into punk, although they're still a difficult act to categorise. There's even a hidden track that pays homage to the offbeat sound of The Smiths.

Natasha Scharf

 

http://www.metalhammer.co.uk/

Memphisto (6/10)

Rock n Roll, horrorcore and gutter-punk take the nightshift off for a spin round the boneyard in this offering from the demonic duo Devilish Presley. The name says it all, the jive-assed spirit of the 50's and B-movie obsession collides in a bar room bust up between G'n'R, Blondie and Johnny cash. No doubt this booze-fuelled glitzed up double act are plenty of silly fun to watch. 

Louise Brown

 

http://www.bigcheesemagazine.com/

DEVILISH PRESLEY
Memphisto ***

Label: November Tenth Records

Glamour 'n' Goth duo name-drop

This duo sound like a band which is a good start, a hybrid of glam rock, Goth and a bit of horror punk that has a rocking edge. Twelve tracks pretty much  embracing the aforementioned styles in an effortless fashion. Having absorbed all that goodness Devilish Presley don't mind name dropping a bit either. Elvis (obviously) plus a whole host of artists from Jerry Lee to Joan Jett get a mention but they needn't have bothered because it's all here in the music. One minute you are listening to a bit of rockabilly guitar albeit drenched in fuzz the next haunting acoustics and back again via the 1970's punctuated by lyrics with attitude.   Great Stuff!

Simon Nott.  

http://www.alternativelondonmagazine.com/Home.htm

DEVILISH PRESLEY
Memphisto (November Tenth Records)

Never ones to rest on their laurels Devilish Presley end a frankly spectacular year of touring with a third album set to really challenge their Goth following. 'Memphisto' douses DP's dark rock 'n' roll's roots music (Elvis, Robert Johnson, Jerry Lee Lewis are all name-checked), adds some incendiary riffage and then ignites the volatile mix with the Goth-riling, razor tongued lyrics to 'Prick Up Your Ears' - sparks will fly.....

Alison B 

 

DEVILISH PRESLEY

"Memphisto" (November Tenth records)

posté le mercredi 10 mai 2006

Eeeeeeeeeexcellente surprise ! J’avoue que la pochette m’a fait frémir, c’est genre ultra-looké chez ce couple basé à London. Futes en cuir, mèche fièrement dressée (à la Titeuf, quoi) pour monsieur, stetson pour madame, regard sombre... oops ! Un poil too much quoi, ça me rappelle les Fields Of The Nephilim qui grimpaient sur scène saupoudrés de farine genre j’ai chevauché un mois dans la vallée de la mort... On dirait les gonzes qui traînent leurs (grosses) semelles aux Furieux, ce bar à Paname où j’aime parader attifé de mes plus belles chemises à carreaux coupées aux manches et baskets en fin de vie aux pieds... enfin bref, tu ne jugeras point un book à sa couverture, comme disent les rosbifs, et c’est valable aussi pour les groupes... parce que niveau zique ça le fait, et bien même... un genre de téléscopage entre les Cramps et Slade, avec des morceaux de Damned période "Phantasmagoria", si vous voyez... parce que ça chante (les deux s’y collent, c’est du meilleur effet), et c’est mélodique, et Glam à fond... c’est simple, certaines chansons m’ont carrément fait penser au Rocky Horror Picture Show... ça n’empêche pas les morceaux d’avoir la niaque, avec une bonne obsession sous-culture ricaine, muscle cars, bécanes chromées, horror-rock à la Misfits... Jacqui (bass) et Johnny (guitar) s’en sortent haut la main, épaulés par une boîte à rythmes puissante... « J’ai vu la fiancée de Frankenstein en train de baiser avec les Ramones » qu’ils chantent... vous mordez le tableau ?

Mike Hammer

http://www.likesunday.com/likesunday/

 

 

Devilish Presley Memphisto (November 10th)   Roll over Marc Bolan and kick Steve Jones out of bed. Devilish Presley are back. It's time to get some loud guitars down yer. Loud guitars on a Devilish Presley album? That, of course, is not exactly news. Devilish Presley have certainly never been shy of whacking it all up to 11. But this, the band's third full-length release, sees the band employing an even bigger, beefier sound than before. Memphisto is produced to hit you right between the ears. It's shamelessly, gleefully overdubbed, overdriven, and at times downright over the top. The album sounds significantly different to the band's stripped-down live incarnation, where the basic guitar/bass/drum machine/vocals mash-up comes at you unadorned. In the studio, different rules apply. Devilish Prseley have clearly set out to create a snorting, seething, glam-bastard monster of an album, and blow me down but they've succeeded. If it's noise you want, stomp this way. 'Prick Up Your Ears' barges in like a police raid, Johnny Navarro insisting that he's a 'Gutter punk in the house of fame' as the guitar powers ahead. Throughout the album, the band sound as if they've soaked themselves in Americana, but occasionally they'll throw in a Brit-ism for incongruous effect, as here, when the song wraps up on the line 'Prick up your ears, baby/prick up your ARSE!' No sooner have we recovered from that onslaught than 'Robert Johnson' hits us - the song is at once a tall tale and a tribute to the 1930s bluesman and inventor of...well, everything, really. In a way, it's the most substantial number on the album, in that the subject matter is clearly dear to Devilish Presley's heart. They obviously relish getting their lyrical teeth into something a bit more weighty than shameless self-promotion and sideswipes at the London scene, which, by and large, are the themes of most of the songs here. The guitar, naturally, is a big, bad racket, and right at the end quite blatantly goes into the riff from T-Rex's '20th Century Boy', a come-on-then-if-you-think-you're-hard-enough taunt to the ghost of Marc Bolan if ever I heard one. Just in case Marc still doesn't get the message, the very next song, 'Hammer Horror Glamour', cops the riff from 'Children Of The Revolution', which should ensure that the lawyers prick up their ears if nothing else. 'Black Glitter' is a glam-rock bulldozer of a song, while 'Trucks' lulls us into a false sense of security with a sensitive intro, then goes hog wild with a rip-roaring Jacqui Vixen vocal. 'Boy On the Fence' takes things down a bit for real - it's an acoustic-ish ballad, a side of Devilish Presley we never see in their live shows. 'Billy Rattlestick' has a nice Duane-Eddy-in-the-water-tank guitar intro before firing up into a four on the floor rocker with Jacqui Vixen screaming out the vocal like she's trying to be heard on the other side of the Mojave desert. And then, Johnny Navarro nails his colours to the mast. 'In League With Elvis' is his rock 'n' roll autobiography, a fantastical tale of devilish deals with the king of rock 'n' roll at the crossroads at midnight, a song that builds up to a frenzied crescendo with the drum machine implacably thudding away, never throwing in so much as a fill or a roll. It's a fine example of the Devilish Presley philosophy - in minimalism, there is maximalism. Or, as they would probably express it themselves, 'Hell yeah!' 'Starlings' is a witty, sardonic rant from the point of view of a band on the un-superstar gig circuit. It's pointedly funny: 'Hey babe, ya wanna drink my rider?/All I got is five cans of cider' - splendidly insulting: 'You're dirty, you look like a toilet seat' - and gloriously surreal, as Johnny goes into a free-form rant over the entire last half of the song: 'These American punk bands, they're all sponsored by shoe salesmen in Camden...if I don't make some money soon, I'm going to have to start eating my fans!' I think it was John Peel who said (possibly with special reference to Bruce Springsteen) that when bands start writing songs about being in bands, it's time to get worried. But I think Peelie would allow himself a wry chuckle at this one. 'User Pattern' is a cautionary tale, a more gritty relation of the Stranglers' 'Strange Little Girl', while 'Cat On A Hot Tin Roof' wins the Word Power award for rhyming 'veracity' with 'mendacity' in the chorus. And to finish, we see Devilish Presley finally giving in to Bo Diddley syndrome. This term, coined by John Peel in reference the 1950s rocker who penned many songs which, essentially, asserted that he was Bo Diddley, certainly suits 'Jukebox Hades', which finds Devilish Presley giving us a song about....Devilish Presley. If it's not exactly the strongest thing they've ever written it contains a few funny lines - the one about Jacqui Vixen driving a truck over your car is a goodie. This doesn't quite wrap things up, because Johnny Navarro makes an unannounced return with an unbilled acoustic track which may possibly be called 'God Bless Spite And Malice'. In this, he's the last gritty rocker in town, a one-man army against bland clubland and fashion-led psuedo-excitement. The lyrics are cryptic - I suspect few people outside London will understand his references, such as 'Murdering you just got a little nearer/I could do it on any of your three floors' or 'Like every B-movie ever made you'll have a crap ending' - but I suspect denizens of London clubland will suss it out. So, that's Memphisto. A crazy, funny, rumbustious, grandstanding album, with the biggest, baddest guitar sound this side of Never Mind The Bollocks. And underneath it all, a heart of hardcore determination. Devilish Presley just might be the last band in town who really mean it, man.      http://www.nemesis.to/devcd.htm

 

                                                 http://www.live4metal.com/reviews-416.htm

Devilish Presley - Memphisto (November 10th Records/Toxico) Review by Marco Gaminara
	I wasn't aware that Maidenhead was also known as Memphisto, but then again I doubt that anyone other than Devilish Presley does either. Well Pete pawned this off on me owing to its title's similarity to my online moniker and upon looking at the cover I wasn't really sure whether I was gonna like this at all. Thankfully it's very rockabilly, funny and so full of dry wit that I couldn't help but like it. The duo of Jacqui Vixen (Bass, Vocals) and Johnny Navarro (Guitar, Vocals, Programmer) manage to combine 50s rock with Misfits type ghoul humour and a healthy slap in the face to the elitism of the London Alternative Scene. Opener "Prick Up Your Ears" has Johnny sounding a hell of a lot like the Placebo front
man Brian Moloko, but the guitars are far twangier, with the lyrics being far more fun. "Robert Johnson" has been dubbed by many as the father of modern rock and roll and this is definitely not a true story about him. Now "Hammer Horror Glamour" has such a summer rock feel to it that you can't help but want to bop along, which pretty much goes for "Black Glitter" too. The yanks tend to obsess a lot about "Trucks", but when you get a girl singing about 'em it makes you think of them a little differently. Jacqui's voice has an abrasive quality to it that matches her shouted style really well and shows that what she lacks in finesse she makes up for with enthusiasm. Taking a very acoustic turn "Boy on the Fence" uses its minimalism to highlight all the bands attributes that get lost on tracks like "Billy Rattlestick" where they go hell for leather and I all I can see are 50s cars in my mind's eye. The blues tinged "In League with Elvis" is exclusively about the king and the most memorable track on the CD. Groupies are synonymous with rock bands and "Starlings" is all about that, or lack there of really. Slowing things down again with plenty of lovely vocal melodies "User Pattern" and "Cat on a Hot Tin Roof" are rock n' roll classics in the making. Now that the fun ride into the 50s is over, "Jukebox Hades" wraps things in Devilish style and has you going back for more "cos the Devil has got all the best songs". The hidden/unlisted track "Spite and Malice" has some petty nastiness directed at some record stores/labels based in Camden, and I couldn't help but chuckle here while listening to it, and worse relate to it. www.devilishpresley.com | www.toxico.co.uk

 

www.roomthirteen.com   Devilish Presley - Memphisto   Rockabilly glam swing. Wed Apr 12 05:37:10 2006 Rated 10 out of 13   by Andrew Reilly To quote the old Ronseal adverts, Devilish Presley do exactly what it says on the tin. This feisty duo, with a drum machine in tow, attempt to merge all the best bits of rockabilly through to glam into one neat gothic rock ball, and fairs fair, they pull off not a bad effort. Album opener 'Prick Up Your Ears' makes the listener to do just that with its squealed vocals and up-tempo riffing that hammer on from the first chord. With an unexpected nod to Bob Dylans 'Subterranean Homesick Blues' before the end of the track, its an intriguing opener that seems to cover a lot of bases. The songs scream cult following and no doubt the band will have their devoted minions up and down the country. Whether they will ever appeal to a wider section, who knows and its hard to figure if the duo would care too much. They seem to be enjoying themselves and what they do. 'Hammer Horror Glamour' brings to mind T-Rex's 'Buick McKane' and its sleazy boogie riff flows easily throughout the track and the tongue-in-cheek merging celluloid stars of yesteryear with heroes of the first flush rock n roll gives the track a great 1950s edge. With countless reference to cemeteries, the Goths will have their fill and will hopefully put a smile back on one or two of their faces. 'Trucks' up the squeals and in the chorus, is there any doubt what would be used to rhyme with truck and luck? You would be feeling a little letdown if they didn't use the f-word and thankfully DP don't let anyone down. Throughout the course of the record, the swearing levels aren't excessive for what you may think and there isn't really any gratuitous swearing, it all fits neatly into the moment! Midway through the album a shocking revelation befalls the listener, 'Boy On The Fence' is an acoustic track, showcasing a bit of soul and the best bit is the way the they resist the temptation to up the ante and kick in with the heavy guitars but merely allow the song to glide by. After this, right up until the closing track, the flow returns to heavy and fast but the small break in the middle was well received. As a whole, the tracks swing like a cross between the blues, country and glam rock. 'In League with Elvis' makes lyrical reference to the cross roads and selling your soul and these are not new phenomena's by any shape or form but its been a while since its been done so joyously or with choruses feed backed to the maximum. If you can imagine Eddie Cochrane jamming with the Stooges, you can begin to touch the feeling of this record. As they say "Ignoring us just got a little harder...I'm gonna rub your nose in shit" suggests an act bitter with their enemies but having the tenacity to prove their worth should keep Devilish Presley busy for the next few years. If DP are 100% serious then may God have mercy on us all but otherwise, turn off the cynicism for a while and dig the riffs.

 

www.rocksomething.com
			Memphisto Devilish Presley Toxico Reviewed by Adam Harrold Tracks: Prick Up Your Ears; Robert Johnson; Hammer Horror Glamour; Black Glitter; Trucks; Boy on the Fence; Billy Rattlestick; In League with Elvis; Starlings; User Pattern; Cat on a Hot Tin Roof; Jukebox Hades.
	“Come on Everybody, let’s get on the dance floor” screams bassist and backing vocalist Jacqui Vixen to introduce Devilish Presley’s “Hammer Horror Glamour”, one of the best songs on their debut album, “Memphisto”. Boasting a name that neatly describes their sound, Devilish Presley play what they refer to as ‘fright rock’ or ‘death rock’, but is basically a mixture of Goth and old time rock ‘n’ roll with a smidgen of punk thrown in for kicks. Think Chuck Berry and Evil Presley crossed with Him, The Ramones and, oddly, the vocalist from Placebo and that’s what we have here. It works very well too. Though Devilish Presley only actually have the two members, Johnny Navarro being the second – hence comparisons with the White Stripes – you’d be hard-pushed to notice the difference between them and a larger outfit – such is the power of their sound. “Prick Up Your Ears”, “Trucks” and “Jukebox Hades” are explosive numbers that along with the majority of tunes on this album promise to get the Goths doing the hully gully and retirees moshing their hips away - something no other album could surely ever dream of. The best thing about “Memphisto” however, is that ultimately it’s just a very catchy, cheeky album that along with some swinging attitude and original ideas results in a very enjoyable record. So get out your poodle skirts and start practising the mashed potato, because Devilish Presley want to show you a good time.

                 [9.5/10]

Devilish Presley – Memphisto
2005, November Rec. 10th

Devilish Presley na nowym krążku puszcza ponętne oczko w kierunku sceny Psychobilly. „Memphisto” to płyta pod wieloma względami niezwykła. Fascynacja rock’n’rollem i wciąż żywą legendą króla parkietu Elvisa Presleya znalazła swoje odbicie w iście deathrockowym wydaniu. Coś niesamowitego. Unikalna mikstura horror punka i rocka. Podejrzewam, że nie tylko w Europie drugiego takiego duetu jak ta „diaboliczna” para próżno szukać. Oni są naprawdę wyjątkowi. Ich trzecią płytę cechuje doskonała produkcja, co przekłada się wprost proporcjonalnie na siarczyste brzmienie całości materiału. Jadą ostro i stale do przodu. Nie ma czasu na odpoczynek i pierdzenie w stołek. Trzeba się ruszać, bo i też na „Memphisto” Londyńczycy okrutnie przyspieszyli. Nie sposób porównać nowych i starszych piosenek ponieważ to jakby dwie odmienne, znacznie się różniące bajki. W tym przypadku spoiwem twórczości Devilish Presley mogą być jedynie charakterystycznie soczyste wiosła. Brudne gitary to nadal główna siła napędowa tej muzyki. Przy tych dźwiękach człowiek aż rwie się do… kadilaka lub zwyczajnie spontanicznego tańca. I gdyby nie jednostajnie pogrywający automat to „Memphisto” byłby ideałem. Specjalnym dopełnieniem muzyki Devilish Presley są niezwykle ekspresyjne wokalizy. Szczególnie poraża piekielny wrzask ponętnej Jacqueline. Kto by się spodziewał, że słodko wyglądająca na zdjęciach istotka, może TAK mocno ryknąć z gardzioła ;-). Pozory mylą. Za każdym razem podczas numeru „Trucks” – odpadam! Jacquy przeszła samą siebie, kobieta demon,  mistrzyni.    LAUREL  (Poland)                                            

 

                                               

                                                          DEVILISH PRESLEY

                                                 Memphisto
                                                                         by Darren Smith

                                                                         November Tenth  NVMBR2004
                                                                         Leading UK Punk, Goth, stars new opus

Third CD from the independently minded Devilish Presley and there's no let up in the pace. This is the band who will not allow themselves to be pigeon-holed. As tracks unfold, the band deliver another storming set of tunes steeped with references to former glories that only act as an indicator of the future. All manor of music's historical references ("no one gets out of here alive") get name checked throughout the lyrics along with The Ramones, Joan Jett, Robert Johnson, Chuck Berry and  Frankenstein for good measure.   The opening "Prick up your ears" is a calling card for all that follows. "Robert Johnson" is a celebratory thank you to that artist, with the bands last single "Hammer Horror Glamour" acting as a thundering anthem that should have had clarion bells signalling its arrival.  Much rumoured next single "Black Glitter" talks about life on the scene in the UK today.

The CD completely alters kilter with "Trucks" when Jacqui Vixen takes over the vocals from Johnny Navarro, the effect is like witnessing a splinter group within a band, No solo albums from these two! "Boy on the fence" slows the pace down a piece, with the greatest chorus treatment ever, the pace revs back up on "Billy Rattlestick", whilst "In League with Elvis" continues the identification of the bands unique sound (early collectors note - there is a rare demo already doing the round on the compilation titled "Dead and Buried vol 2")

The CD ends "officially" with "Jukebox Hades" an autobiographical account of life as a Devilish Presley.  Look out for the unlisted bonus track at the end.  The band continues to experiment and grow with each new release and avenues are opened up to be explored both musically and lyrically whilst maintaining their standards of power, and, originality.

Well worth a spin.

                                                             GOTHIC MAGAZINE

DEVILISH PRESLEY
Memphisto (Recommended!).

Label: November Tenth Records

Devilish Presley, eine erfrischend unverkrampfte Deathrock 'n' Roll- Band aus England, veroffentllchen auf ihrem Label November 10th Records ihr inzwischen drittes Album "Memphisto", das nicht nur im Titel augenzwinkernde Wortspielereien und Verweise auf alte Helden enthalt. Musikalisch liefern Devilish Presley wie gewohnt handfesten, enorm partylauglichen Rock mit kleineren Gothic-und Blues-, grosseren Rockabilly- und Deathrock-Einflussen, der den Zuhorer kaum einmal zur Ruhe kommen lasst. Ob "Robert Johnson" die single "Hammer Horror Glamour", oder der sing-along-Hit "Jukebox Hades" -die Musik lebt vom placeboesken Gesang JOHNNY NAAVRRO und von einem unverfalschten, handgemachten Sound, der ohne grossartige Effekthascherei auskommt und gerade dadurch vollig unverbraucht und energiegeladen daherkommt. ob mit ruhigeren Stucken wie "Boy On The Fence" oder energischeren Songs ("Trucks") Devilish Presley werden ihrem Anspruch, die Energie und Leidenschaft des alten Rock n Roll's reif fur die unsere Zeit zu machen, voll und ganz gerecht-und haben damit jede Chance, bald zu den ganz Grossen zu gehoren-und das, obwohl "Memphisto" einige Ecken und Kanten mehr abbekommen hat als das vorgangerwerk "Disgraceland". Nicht nur fur bettkafer, (Death-)Rocker, Psychobilly-Fans und verkappte Brian Molko verehrer(innen) unbedingt empfehlenswert.

Daniela Turss.

 

It's a tough thing to pick five great albums of the year. Especially when albums are bought, sold, swapped and... well, had by other means, on a regular basis, regardless of the date they where originally released. So pushing aside the back catalogue of previous years' releases I caught up on in 05, I managed to compile my best of the year. Michael Riley

Devilish Presley - Memphisto - Independent Making big waves in the London Goth scene. Jacqui Vixen and Johnny Navarro have created a great Goth-a-Billy group with a superior sound. With influences from The Jesus And Mary Chain and The Cramps to Johnny Cash and Bob Dylan Memphisto proves that Rock isn't dead... it's just hiding somewhere in Camden Town  http://www.lefthip.com/bestof.php

 

BUBBLEBUM SLUT

DEVILISH PRESLEY
Memphisto

Label: November Tenth Records

London duo Devilish Presley are a contrary pair, having won the favour of the UK Goth scene like few other acts in the past year they're now back with a typically confrontational third album which will really test their black-clad crowd. "We're gonna kill you graveyard dead/weeping tombstone tears with a hole in your head" proclaims anthemic opener 'Prick Up Your Ears' with a shit-eating grin and no words minced, before glam stomping pastiche supreme single 'Hammer Horror Glamour' knowingly chucks in every cliche in the book in a perfect display of the lyrical wit which is one of DP's greatest strengths. With the Placebo-ish shadowy sound of its predecessor 'Disgraceland' all but abandoned its the bands classic rock 'n' roll influences that comes fully to the fore on 'Robert Johnson' and 'In League With Elvis'. Like their heroes far from ostentatious approach 'Memphisto' puts the emphasis on plain ol' good songs with great choruses that would shine in anyones hands, in any medium. Although with the added power of some live drums behind them you can imagine they'd be ruddy amazing.

Bubblegum Slut.

TOPIC: MUSIC   Devilish Presley - Memphisto It is tempting to make the claim that Memphisto moves deathrock back to its glam rock roots, but an album this good transcends useless labels and genre distinctions. The music of Devilish Presley is, to put it simply, rock 'n' roll in its purest form. Perhaps the band describes their music best in the lyrics from "Hammer Horror Glamour": "I saw the Bride of Frankenstein have sex with The Ramones, Marc Bolan, and Joan Jett." You know you want to listen to that. For a two-piece, Devilish Presley make quite a racket. Stomping mammoth guitars, thumping bass lines, and a sexy, swaggering attitude to match. This time out bassist Jacqui Vixen even gets to take a few turns as lead vocalist, but have no fear, Johnny Navarro's acerbic yowl is still present and accounted for. You might think that by their third album this duo would be starting to mellow out, but you'd be dead wrong: lyrically they take a few swings at the music biz, London goth institution Slimelight, and other unsavory folks. These two have a lot of sand for your Vaseline. Jack Shear http://liarsociety.tripod.com/blog/index.blog?entry_id=1265108 Posted by Jack

 DISGRACELAND

     

Devilish Presley
"Disgraceland"
(November 10th Records)

One of this month's most refreshing independent productions comes from the british-australian duo D.P.
Horrorpunk meets goth, early-eighties-indie-rock and alternative. The whole thing sounds as if THE BOLSHOI hammer an unholy alliance with PLACEBO while THE DAMNED and SPECIMEN drop by to help the MISFITS ignite the fires of hell. Guitarist, lead-singer and confessing rock'n'roll junkie Johnny sounds like Trevor of the above mentioned BOLSHOI and from time to time he strays from his way to move into Glam-Rock. Bassplayer Jacqui meanwhile adds a pumping groove and spices up the chorusses with her snotty backing vocals. Despite the DrumComputer, the two of them rock the house as if their souls would depend on it and are even more able to deliver, quite by the way, ten truly fresh and intruiging song-pearls.
So "Disgraceland" becomes and album that provides a lot of fun throughout but does not to reinvent rock. But then, given their stormy and sympathic energy, they don´t need to. This album simply grabs you and won´t let you go. Saying this I can undoubtly recommend this one to everyone who is into dark melodic old-school-indie-rock. (MK) = Marty Kasprzak ZILLO ****************************************************************************************************************************************************************************

FIEND MAGAZINE (Australia)

DEVILISH PRESLEY "Disgraceland" (November 10th) CD

As much punk blues as accessible goth rock, the sound of Devilish Presley (a band with perhaps the greatest logo in music history) is energetic and raw. Ex-Melbourne bass-playing hottie Jacqui Vixen and vocalist Johnny Navarro combine aspects of their wild and eclectic tastes into the groups second full length release, the fabulously titled "Disgraceland". Compared from everyone from Placebo and The Cult to David Bowie, Devilish Presley moves contemporary British goth music away from it's current piss weak, old school hangover, (haunted by the ghosts of The Sisters of Mercy and Fields of the Nephilim). The band does this without going too far the other way and dissolving into dubious trance dressed up as EBM or shallow synthpop. "Disgraceland" is fresh, raw and rocking good fun and the only thing more promising than another studio release is the rumour circulating of a 2005 Australian tour. www.devilishpresley.com.  Amber Hastings (Australia). ****