Troy Redfern – Invocation
Troy Redfern – Invocation
Format: CD – Vinyl LP – Digital
Label: RED7 Records
Release date: May 17, 2024
Over the course of last two albums ‘The Fire Cosmic‘ (2021) and ‘Wings of Salvation‘ (2022) Troy Redfern found his true voice stylistically in terms of writing and playing, but with Invocation he created a collection of outstanding new songs that carves out his own identity as to who he really is an artist
Troy head 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 really 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.
For the new album, Troy decided that he’d bring back the production team that worked on The Wings of Salvation. Dave Marks was brought back again for production duties, along with Jo Webb for mixing and mastering. Lee Russel’s Dulcitone Studios in Kettering was again the logical choice to record Paul Stewart’s (The Feeling) drum tracks as the converted chapel has the perfect ambience for huge sounding rock drums.
Due to the streamlined process that Troy and producer Dave Marks employed on the previous album, Invocation was written, recorded, and mixed in just under six weeks.
“It really was great to be able to realise and bring to fruition these songs as quickly as we did,” recalls Troy. “It kept the ideas fresh and stopped them from becoming overworked and tired.”
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.
ALBUM TRACK BY TRACK
The opening tune on the record explodes with a soaring slide motif that conjures up elements of 70’s glam, blues but with a unique melodic spin. I wanted to make a bold musical statement with this song. I condensed a lot of ideas that I had for this one down to simple, memorable lines to make it as strong as I could. This song really is a melting pot of a lot of my influences from the past forged into something new.
This song is straight up rock ‘n’ roll. I’d just bought a 60’s Teisco guitar, I restrung it, plugged it in and this was the first riff that came out of it.’ Continues Troy ‘It’s strange how different instruments almost have songs in them, there to be revealed when the time is right. Getaway deals with themes of starting over, being reborn after going through the trials of life.
The deceptively quiet resonator intro soon gives way to one of the biggest guitar riffs on the record. Van Helsing is a powerhouse of a song, dark and brooding until the chorus breaks through to reveal one of the biggest choruses on 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.
I’ve always wanted to write a slow motion, epic kind of a tune. The Calling was a song that was born out of that desire. This song is about escaping the technological net we all live in, and to get out into the wilderness to reset and get perspective on what’s important in life.
This track fades into a western post-apocalyptic western audio landscape, with tribal drums and tremolo guitar setting the scene. This song was another that seem to just fall out. I plugged in the ’62 Silvertone Jupiter guitar and started playing and the idea formed completely organically in the moment. It feels very special when that happens, and now that it’s been road tested, I know that audiences are picking up on the vibe of this track.’
This is a slide guitar blues barn-buster with subtle nuances of rock, glam and psychedelia. Lyrically, itdeals with themes of emancipation and breaking out. It’s Troy Redfern full-circle blues rock and roll!
The Fever is about pushing back and breaking through all the obstacles when you’re feeling held down. It’s about feeling as if it’s you against the world.
ALL NIGHT LONG
Coming out of the gates hard and fast like a Dodge Charger, All Night Long combines hard rock ‘n’ roll with slide guitar fury! When I wrote this song, I always imagined it a set opener. It’s got power and edge, but also a big sing along chorus’ states Troy. ‘For this track I decided to my trusty Fender Strat which has a different texture to my other guitars, it gave the song a unique sound.
Blind Me is a song about the dark side of love. It’s about finding out things aren’t what they seemed, and the brutal reality of finding out the truth. This is the first time that I’ve strayed into ‘country’ territory, I usually like to leave it well alone, but again this song came to me with its style locked in. Once I’d recorded the initial idea, I knew what this song was asking to be.
A voodoo hellraiser of a blues boogie coated in Tiki/psychobilly paraphernalia. Voodoo Priestess is a tale of coming under the spell of a temptress who uses otherworldly powers to ensnare her victim. Resistance is futile, because as we know, the female of the species is more deadly than the male.
TAKE ME HIGH
This straight ahead, upbeat rocker celebrates the power of the endorphin rush of new love. Muscular slide riffs syncopate the verses adding to the intensity of the delivery but also contrasting the uplifting openness of the chorus. The verse on this song came first, initially as a nod to Bo Diddley, but soon morphed into its own thing. I’d had the chorus melody floating around for some time and it seemed just to snap into place with this one.
THE LAST STAND
The closing tracking track on the album was originally written to a drum loop to create a hypnotic groove which is re-enforced by the repeating guitar line played on the ’64 Teisco guitar. The song deals in themes of revenge and vengeance and plays out like an old western movie. There’s a slightly mysterious vibe on this track, a sense of uneasiness which is echoed in the eastern style slide solo.
Troy Redfern – Vocals/Guitars
Dave Marks – Bass, Keys, Percussion
Paul Stewart – Drums