The 17th of May saw the release of the new Troy Redfern album, “Invocation.” Now, back in September 2022, we were happy to speak to Troy about his album “Wings of Salvation.” One of the interesting things about Troy is the evolution each album takes. He can move from rockabilly to a blues edged rock. He told us back then,
“The Fire Cosmic,” (2021 album) had more of a rock production, so it’s quite a bit heavier. The earlier albums had elements of rockabilly and blues, but “The Fire Cosmic,” mainly due to the producer, had a rock feel. I had Darby Todd on drums, and he is a heavy drummer, and your album is largely defined by your drummer. If you have a heavy drummer, everything you build on top of that is going to sound big.”
Troy headed to the west Wales coast with his trusty 1929 National Triolian resonator guitar for a week of solitude in a remote Sheppard’s hut to sketch the initial song ideas for the new album.
“It was important for me to clear my mind of all distractions so I could really focus on what I wanted to write on this album and the direction I wanted to take it in,” says Troy.
With “Invocation,” Troy explores fresh musical territory, from the heavy, bone crushing slide riffs and big sing along choruses on “Van Helsing” and “Getaway” to the evocative, wind-swept western landscapes of “The Native” and “Blind Me.” After three albums in three years, Troy continues to expand his musical horizons and keep his creative fire burning.
He is a prolific singer-songwriter, but he manages to constantly surprise and engage with his albums. He commented on the songwriting process for this album, saying:
“I tried some unorthodox approaches to songwriting that included meditation, where I would imagine hearing a song in my mind, as complete as possible, including visualising the performance live. Next, I would pick up the guitar and capture the idea on my phone. I wasn’t led by what I would usually do when I picked up the guitar. It was a very freeing and powerful experience, and it was a discipline that I’ll use again to write more songs in the future.”
I was very pleased to get to review this one, and so on to the review! The album has 11 tracks and runs for just over 41 minutes.
“The Strange” (3.36) opens the album with a fist thumper. It took me to the glam rock confidence of Slade, and it hits this big beat, with the drums certainly setting the tone for what is to come. It certainly hits the listener with a blast to start the album; just turn up the volume and settle in for the ride.
“Getaway” (3.25) “I’d just bought a 1960’s Teisco guitar; I restrung it, plugged it in and this was the first riff that came out of it,” says Troy. This is a good, fun track, slotting nicely into the start of the album. The chorus and riff work and help create the rock vibe.
“Van Helsing” (2.55) is the latest single from the album. “With Van Helsing, I wanted to explore a heavier, darker aspect of my writing. “I’ve always loved the vibe of heavy riffs, and this certainly is that. To me, the chorus is one of the strongest choruses that I’ve written. I worked hard on the harmonies to nail the vibe I was looking for,” says Troy. I’m not sure what I expected, as I thought immediately of Stoker’s novel and the vampire hunter! However, we do get a damn fine chorus, a hard hitting, gritty sound and a band that sounds totally on their game and has a load of fun. There is a tour coming up (see below), and I assume this one will be on the set list for your listening pleasure.
“The Calling” (4.47) plays this big opening with drums and guitar before moving into a bluesy ballad about feeling the calling of the wild. The guitar sound impresses throughout the track; it has a touch to it that Troy is starting to make his own. The mid song guitar solo is a great piece of the imagination, effortlessly slotting into the pounding drums.
“Native.” (4.43) Troy says on this one, “tribal drums and tremolo guitar set the scene. This song was another that seemed to just fall out. I plugged in the ’62 Silvertone Jupiter guitar and started playing, and the idea formed completely organically in the moment.”
The track has a great southern sound; it takes me to the deserts and rolling dust bowls. I felt the heat coming from the ground, I liked the lyrics and I enjoyed the beat of the track very much. It grabbed my attention and kept me. It went straight to my playlist for this one.
“The Fever” (3.33) takes us into an infectious bluesy boogie. I liked the confident strut in the song, and the beat makes you move with it. Even my cat had a bit of a bop to this one!
“All Night Long” (3.34) races off from the starting line, a song that hits the track and pounds the beat from start to finish. Troy sings that he’s feeling good tonight, and, for sure, this is good time rock n’roll. It’s very fine, classy, traditional rocking.
“Blind Me” (4.16) changes direction, and we have a ballad that has touches of late Bon Jovi in it. After the sheer energy of the previous track, this provides a reset before the final trio.
“Voodoo Priestess” (3.25) takes us back to feverish rock and is a heavy number. Troy says about it, “Tribal drums and tremolo guitar are setting the scene. This song was another that seemed to just fall out. I plugged in the ’62 Silvertone Jupiter guitar and started playing, and the idea formed completely organically in the moment.” I loved the chorus and really enjoyed the song, from those drum rolls to the belting guitar riffs it delivers.
“Take Me High” (3.42) is a solid enough album number. It rocks, delivers a strong chorus, and contains a strong guitar break.
“The Last Stand” (3.46) closes the album, appropriately enough with that title! Troy says of the track, “The closing tracking track on the album was originally written to a drum loop to create a hypnotic groove, which is reinforced by the repeating guitar line played on the ’64 Teisco guitar.” It has that psychedelic rock feel to it and is an interesting listen.
Overall? If you like your blues with plenty of rock in there, then this one is for you! Troy always delivers and this album provides a slickly produced modern sound for 2024. Have a listen!
Standout tracks: “Voodoo Priestess,” “Native,” and “All Night Long”
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By Stevie Ritson
PRODUCTION CREDITS
Produced by Dave Marks at Two Wolves Studios
Mixed and mastered by Jo Webb at XXX Studios
Drums recorded at Dulcitone Studios by Lee Russel
Troy Redfern: Vocals/Guitars
Dave Marks – Bass, Keys, Percussion
Paul Stewart – Drums
You can stream the album, and other work by Troy Redfern here
