Detritus
Mini-Issue #390.5 - November 24, 2006
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*** CAST OF CHARACTERS ***
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Patrick Brower, Editor
patrickbrower@...

Sean P. Gahgan, Editor
lof@...
http://www.lakeoffire.net/

Tim Wadzinski, Owner
tsw512@...

Steve Shumake, Co-owner
vongoober@...
http://www.vongoober.com/

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*** LET IT BE KNOWN ***
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-Happy Weekend everybody! Just sneaking in a cool interview Neal did
with Images Of Eden main man Gordon Tittsworth. - Tim

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*** SPECIAL REPORT ***
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by Neal Woodall (MysticX9@...)

-Interview w/ Images Of Eden
November, 2006

Periodically a disc comes along that keeps finding its way back into
your CD player, one of those gems rewarding repeated listens with
enjoyable music and stimulating lyrical content. Images Of Eden's
SUNLIGHT OF THE SPIRIT is just such an album, a captivating portion of
prog metal undiluted by the showy meanderings so often common to such
releases. Recently, Images Of Eden mastermind Gordon Tittsworth was
kind enough to answer some questions about the band and their stellar
new release...

DETRITUS: Images Of Eden have been around since 1999 but many of our
readers may not be familiar with the band. Can you give us a little
background on the group?

GORDON TITTSWORTH: I had been in and out of bands since I was 16 years
old but never really found anyone who shared the same vision,
direction and dream that I had. I always seemed to find non-motivated
band members and/or "dictators," inexperienced musicians, and
conflicts with the other writers in various bands. Finally, after
parting ways in 1998 with a band called Out Of Nowhere, I decided that
it was time to bring my vision to life without having it diluted or
compromised. In September 1999, I went into the studio with a session
drummer to record the debut CD, CHAPTER I. My goal was to fully
produce a CD with my own original material, playing all of the
instruments myself -- except drums -- as well as design the artwork.
The final product would then be used to carefully select musicians to
complete the full-time lineup. Once the CD was finished in spring of
2001, I began searching for musicians to complete the full-time
lineup. It didn't take long to get the band together, but the lineup
would change significantly over the next four years -- for the better.
Over that period, we played out on a regular basis. In summer of 2004,
we were a strong three-piece -- with myself on vocals, bass guitar,
and keys, Dennis Mullin on lead guitar, and Matt Kaiser on drums --
and decided it was time to record SUNLIGHT OF THE SPIRIT. However,
being a three-piece was not without its limitations so we added
bassist Bryan Wierman to the mix just after the recording. We're also
currently auditioning keyboard players.

D: SUNLIGHT OF THE SPIRIT has been getting a good number of positive
reviews -- are you happy with the way it turned out and the response
it has received?

GT: For the most part, I'm very pleased with how it has been received.
The reviews have been surprisingly good, and have ranged anywhere from
good to phenomenal -- 5 out of 5 stars. We've had a lot of compliments
on the songwriting, technical musical ability, delivery of the
material, and definitely the passion and sincerity of that delivery.
With that said, I'm very pleased. Funny thing, the best reviews I've
read are where the reviewer listened to the CD multiple times and
really dug into the story. I had one reviewer tell me it didn't leave
his player for a month because he would not have been able to take it
all in and write a thorough review, otherwise. (Thanks to Derric
Miller of Hard Rock Haven.) I would venture to say that the CD has
great appeal at face value, but it will definitely go in deeper if one
really "listens" to it.

D: In addition to the obvious progressive elements I seem to detect a
New Wave Of British Heavy Metal flavor in some of the songs; who were
some of your main influences?

GT: Hmm, interesting detection. I would say that most of my influences
are more prog-metal or "old school" British Metal rather than new.
However, I actually have some old thrash influences as well. They
range from Fates Warning (all, but more specifically the John Arch
era), Queensryche, Badlands, Pantera, Iron Maiden, Black Sabbath,
Dream Theater, Type O Negative to Slayer, Running Wild, Motorhead and
various European Metal, among many others. I'm sure you can imagine
that my writing should be a bit heavier than it is, but the influences
of the rest of the band are more on the prog-rock side -- bands like
Rush, Kansas, ELP, Genesis, Marillion, Porcupine Tree, etc. These
influences added more dimension and melody to an initial heavier
sound, but the chemistry really worked well, I think.

D: The album sounds great; how was it recorded?

GT: It was recorded in several phases: The CD was tracked using a mix
between Pro-Tools and Sonar, the mixed and mastered in Pro-Tools.
(Thanks to Dave Lemme and Mike Donoghue of Shadow Recording Studios
and Dean Morekas of B.U.D. Productions -- plug, plug!)

D: Do you prefer to produce on your own or would you like to bring in
an outside producer on the next album?

GT: I'm on the fence with that one. We would rather produce our own CD
so we get it exactly the way we want, but the help of a seasoned
producer would always take things to the next level. The down side is
that a great producer costs a lot of money and anything less than a
professional is just a waste of time and money. For the next CD, I'd
like to be able to get someone to "assist" us in producing, but we'll
cross that bridge when the time comes.

D: Your lyrics strike me as pragmatic but optimistic -- what would you
say is the overall theme in your music?

GT: Images Of Eden began as a description of a new found perfect world
that I had attained after going through some very rough times. This
was the basis of the debut CD, CHAPTER I. However, this concept
evolved into a theme and story, where each CD picks up where the
previous one ends. This wasn't something that I meant to do. It's just
something that started with the CHAPTER I/SUNLIGHT OF THE SPIRIT
transition so I'm running with it. SPIRIT formed a natural progression
as I wrote it, continuing the ongoing "story" through life, told in a
positive and uplifting way. The first album began as thematic. It's
about putting the past behind and starting brand new, finding this
"estranged," peaceful world...after the "demons" have all gone away.
The ending of CHAPTER I, "Autumn's End," is actually a transition into
this second chapter, if you will, which is called SUNLIGHT OF THE
SPIRIT. If you listen to "Autumn's End," it is a bit of a reflection
on a new inner peace, knowing that life will go on and the sun will
rise again tomorrow. This metaphor of "The End" is actually a
transition that leads into the first track on SPIRIT, "Ascension"
(into "Eden"), which then leads into "Kaleidoscope," being in this
"perfect world." I've always looked at Eden not as a physical place,
but more of a metaphor, like an internal peace. "Kaleidoscope" is kind
of secluding yourself in your own perfect world, whether it is mental
or physical...whatever you want to call it. A perfect world can exist
but it definitely isn't on this earth, it has to be emotional.
"Sunlight Of The Spirit" is an actual spiritual phrase. It is
basically living your life the best you can, seizing the day, making
it happen and seeing the reward, or "sunlight," in return. The theme
of "Beyond The Horizon" is more of a new found spirituality --
whatever brings you an inner peace and makes your world better. People
have asked me if Images Of Eden is "White Metal" or "Christian." The
message is not specifically Christianity, but the same uplifting,
positive spiritual vibe is there and can be applied to Christianity
very well. With that said, we've actually had great feedback and
acceptance from the Christian community so far.

D: How is it working out being on Lance King's label Nightmare
Records?

GT: When I was on the search for a label to release SPIRIT, everyone
that I spoke to in the progressive metal world suggested Lance King
and Nightmare Records, so I sent him a press kit. In my search, I
coincidentally found Silent Planet Promotions, who handles the
Nightmare promotion/booking end. Mark Blair Glunt of Silent Planet
Promotions (plug) and I had an immediate spiritual bond when it came
to the music and story and I decided at that moment that I wanted to
work with him. He actually got in touch with Lance and solidified the
deal for us. (Thanks again Mark!) From there, we all worked together
to get a massive campaign together and now our CD is going into main
chain retail stores. It's definitely a dream come true for any
musician. Lance has been awesome to work with and he makes himself
very accessible to his bands. He goes out of his way very much to make
sure they have the tools they need to make it all happen. He and Mark
are definitely a rare breed in this industry.

D: Do you have plans to play any live dates outside of your area in
the near future?

GT: Since everything is just now about to happen, it's hard to say.
Most of my time has been spent doing solidifying the distribution and
doing promotion. I would say the next six months or so will tell where
we stand regarding a tour. Truth be told, my goal is to get to see the
world with Images Of Eden and I won't stop until that happens. One day
long ago I had a dream of forming a band and releasing a CD to the
world and that is now reality, so a tour will definitely be happening.
It's just a matter of when.

D: Do you prefer to play live or work in the studio?

GT: I think they're both equally important elements in the mix and
deliver different kinds of satisfaction. They're very different
experiences also. I love the studio for the simple art of musical
creation. It is extremely fulfilling to write and record my own
original music and would do it full time if I could. Live performances
are much different. To me, they are a major adrenaline rush. I express
myself in more of a passionate way live, because looking face to face
with everyone in the crowd brings the self expression to a more
personal level. After a really awesome show, it takes me a day or two
to come down from the rush.

D: Have you started working on any new material? If so, how does the
music compare with SUNLIGHT OF THE SPIRIT?

GT: Absolutely! The new CD is well on its way. I have about 95% of the
lyrics (story) written and about three songs complete with music so
far. Anything that hasn't been written has been loosely mapped out.
The third CD takes the band and message to an entirely new level. It's
definitely a major progression from SPIRIT, and is more intense,
lyrically and musically. The finale on the next chapter will sum up
all three CDs in a very unpredictable and surprising way. I've also
been able to pay some homage to two of my fallen heroes -- Ray Gillen
and "Dimebag" Darrell Lance Abbott -- in a small tribute on the next
CD. I haven't had the chance to really give them a proper "thank you"
until now. As far as the third chapter...I can't wait to unleash it.

D: Will you be writing most of the songs for the next album or will
the band co-write with you?

GT: I will be writing the lyrics and also be the predominant writer
musically, but the band will definitely be doing arrangements and
taking the songs many levels higher. They may possibly contribute in
the writing of the music as well. I'm leaving that wide open. Dennis
Mullin already has on "Emerald Rain" off of SUNLIGHT OF THE SPIRIT.

D: There are a lot of bands these days -- do you get frustrated at
having to compete with so many other groups for exposure?

GT: Not at all. I really look at other bands as allies, rather than
competition. We all do. Well, most of us do -- it's not 1986 anymore.
The only real "Us and Them" attitude that exists is between the
artists and the labels who try to exploit them. The one thing that I
really liked from day one about the music biz is that we have made so
many friends with so many bands, even outside our own style and genre,
and we all support each other, watch each others' backs, and help each
other out. We promote each other, play shows together, and sometimes,
even help out with exposing one another to our own audiences. I feel a
massive amount of camaraderie, even if we don't even speak the same
language. I feel that the musical bonds that we all share worldwide is
a priceless thing, and this form of art has been the only means to
breaking down barriers such as race, religion, sex, etc. If only the
rest of our lives were the same.

D: You're indictment of the music industry is apparent in the liner
notes; do you see things getting better due to the Internet and
perhaps a greater degree of band autonomy from large record labels?

GT: First of all, I'm glad that my rant against the corporate
exploitation of artists was visible enough for you to mention it, so I
thank you for that. Yes, I feel that with the Internet age, we as
artists can expose our music to masses very readily. Because of the
Internet era, we have gained fans from all over the world, most of
which could never have heard of us before. I think that worldwide
marketing and distribution of independent music is very do-able now,
where it would not have been 20, even 10 years ago. You see more
artists staying independent now rather than signing with a label,
because they can. They know that if they sign with a major label, they
are no longer calling the shots and have allowed themselves to be
molded into what the record wants them to be. I have a massive problem
with that.

D: Do you think the music scene in the US is improving for bands like
Images Of Eden?

GT: Unfortunately, I feel it is getting worse rather than better. I
feel like the US for the most part does not appreciate the more
intellectual side of music -- intelligent, thought provoking lyrics,
technical musicianship, concept albums, etc. -- compared to other
parts of the world, but prefers a more "remedial" style that is less
technical with minor enthusiasm and ability. If this were not the
case, I would not be hearing The White Stripes, The Strokes, Panic At
The Disco, and The Killers every time I turn on a local rock radio
station. The stations would be playing Dream Theater, Pyramaze, Fates
Warning, Queensryche and Symphony-X instead. I'm not saying that there
are no fans that appreciate the more technical, theatric side of music
here in the USA, but the music industry/radio has programmed the
masses to "dumb-down," unfortunately. Many people think because
something is being played on the radio that "It must be good and I
must like it." With this said, I feel we may have a larger audience
overseas -- Europe, Asia, and South America. I'm cool with that.

D: Thanks for your time Gordon. Is there anything you would like to
say in closing?

GT: I really appreciate you giving me this opportunity and for the
great write-up you did for SUNLIGHT OF THE SPIRIT. I encourage
everyone to check out the CD. For more info, visit us at
http://www.imagesofeden.com/ and http://www.myspace.com/imagesofeden
or feel free to e-mail me directly at Gordon@... if you
have any thoughts or questions. Keep the metal scene alive and spread
the word.

Relevant links:

Images Of Eden
http://www.imagesofeden.com/
http://www.myspace.com/imagesofeden

Nightmare Records
http://www.nightmare-records.com/

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*** OUT ***
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