Shadowing Monsters

• Released 2010
• 23 Tracks

Notes from Dave:

It took a long time before I finally released another album. This was mostly because I met my wife shortly after Age of the Sage, got married, had a daughter and started being less of a shithead. I lost a lot of time to work on music so very little was coming out.

One day while I was looking up a bunch of different instrumentals, I found one that I threw against an old vocal track from a song I released several years before. At that point, I had decided to stop making my own instrumentals because, for the most part, I suck at it. Once I heard how it sounded with a third-party beat, I uploaded it to Soundclick and decided to start putting together an album of remixes and unreleased material I had been sitting on for years. So in this sense, Sliver gave birth to “Shadowing Monsters“.

Some of the music on the album had never been heard by anyone but myself. In some cases, they were vocals I had long since forgotten about. There are three songs that have no titles because they were either intended for collaborations or just things I had not yet finished writing.

Shadowing Monsters also featured things I wanted to use on previous music but never did, such as the intermission track, For Reasons Unknown. The movie Unbreakable is way up my list of favorite films and considering the content of the clip itself, it made sense (didn’t hurt that his name was David either) and was a lead-in for the album, The Mind of God.

The songs Vote for Me (my return to political commentary), Goodbye Girl (the second Hilton song), and Day 1 were originally homeless, written and recorded but with no album to go on. I think I initially intended to put them on “1“, but that album still didn’t come together for another year.

With the album being mostly remixes, I pulled from everything I had. Halo now matches the game it’s about, Nobody’s Hero let’s Goblin talk more, Zero enlists Romy and Michelle to bitch smack preppy cockbags, and Thoughts of the Lost became deeper and more epic sounding. Long Time Coming also gained an instrumental that sounded more like a finale, rather than like a tremendous start to something. In all, the album was fun because I got to rework some of my previous material and put a better spin on it. Basically, I George Lucas’d that shit.