Post Death Soundtrack Unveils New Album "In All My Nightmares I Am Alone"

Post Death Soundtrack’s, "In All My Nightmares I Am Alone", is a bold and honest exploration of trauma, vulnerability, and artistic transformation. Created by Calgary-based artist Stephen Moore, the album is a 30-track journey drawing from nearly two decades of archived material, new recordings, and raw emotional turmoil. Moore reinterprets his past through a modern perspective, offering a chaotic yet unified project that thrives on contradiction—balancing brutality with tenderness, structure with decay, and memory with immediacy.

Known for blending philosophical reflection with intense soundscapes, Post Death Soundtrack transcends genre boundaries. Whether influenced by grunge, doom, industrial, or acoustic folk, Moore’s work is driven by emotional intensity. Following the critical success of 2024’s, "Veil Lifter", Moore made a significant shift. This change led to, "In All My Nightmares I Am Alone", which he describes as, “a complete breakdown in audio format, and in that there is a powerful breakthrough.” Drawing inspiration from artists like Nirvana, Nick Drake, and Tom Waits, Moore embraces imperfections, using them as a medium for deeply personal storytelling.

The lead single, "A Monolith of Alarms", serves as the album’s mission statement. With pulsing industrial sounds and evocative lyrics—“I heard the screaming from the derelict farm / Where tongues were silent...A MONOLITH OF ALARMS”—the track portrays collective abandonment and anguish. It is a song of reckoning, yet it resonates with a defiant empathy for the voiceless. Sonically, it echoes the urgency of Frontline Assembly while showcasing Moore’s unique vision.

The opener, “Tremens”, bursts with unsettling intensity, capturing the raw panic of a real-life Delirium Tremens episode. Its counterpart, “Good Time Slow Jam (In All My Nightmares I am Alone)", delves into fever-dream surrealism, reflecting the album’s title with nightmarish clarity. However, not all is chaos—tracks like, “Song for Bonzai,” a heartfelt instrumental tribute to Moore’s late cat, and, “Desert Wind,” a minimalist acoustic piece, provide moments of gentle stillness. These quieter songs don’t disrupt the mood but enhance it, reinforcing the notion that grief and beauty often coexist.

Throughout the album, Moore reinterprets covers with striking impact. His rendition of Velvet Underground’s “Venus in Furs”, is darkly respectful, while, “River Man”, (Nick Drake) and “God’s Away on Business”, (Tom Waits) are more personal—imperfect, yet deeply moving. “River Man”, recorded alone in Moore’s apartment in 2010, stands out as one of the most emotionally clear performances on the album, a moment of emotional clarity preserved in time.

On the project’s acoustic side—“Reckless Fever,” “Surrender,” “Start This Over”—offer introspection reminiscent of Leonard Cohen, contrasting with the album’s more sonically intense moments. Additionally, tracks like “Fast Approaching Radiant Light” and “Final Days” dive into manic punk and breakbeat chaos, revealing another facet of Moore’s persona.

What makes, "In All My Nightmares I Am Alone", so captivating is its unwavering commitment to honesty. It doesn’t aim to be polished or traditionally cohesive. Instead, it presents an emotional range shaped by loss, addiction, mental health struggles, and recovery. It’s a work born from pain but not defined solely by it. Ultimately, Moore not only survives the chaos—he transforms it into something powerful and strangely beautiful. "In All My Nightmares I Am Alone", is not an easy listen, nor is it intended to be. But for those willing to engage, it offers an uncompromising insight into what it means to feel, to fall apart, and to start anew.