Stephen Moore, the mind behind Calgary-based Post Death Soundtrack, has returned with his most unfiltered release yet. IN ALL MY NIGHTMARES I AM ALONE is less an album than it is an exorcism, built from 30 tracks that span over a decade of fragmented recording, sudden inspiration, and raw personal collapse. It’s jarring, exhausting, at times even cruel: but entirely gripping.
Unlike the doom-laden Veil Lifter, this record swings wide stylistically. Tracks like “TREMENS” and “GOOD TIME SLOW JAM (IN ALL MY NIGHTMARES I AM ALONE)” tear into the listener with a kind of live-wire intensity, recalling early industrial acts like Skinny Puppy or Ministry on a bad trip. There’s a haunted quality in the way Moore builds these pieces: violent, strange, and undeniably human. “TREMENS” in particular comes with the backstory of Moore recording while deep in a dangerous state of Delirium Tremens. That context is not a footnote: it bleeds into the experience of the song itself.
The rage doesn’t last uninterrupted. “WE FALL” and “SOMETHING STIRS” drift into heartbreaking territory, quiet and brutal. These aren’t just musical pieces: they’re confessions, filled with loss and stolen peace. “Song for Bonzai,” a tribute to a deceased pet, is the record’s only instrumental, and lands with a heaviness that few words could carry.
Covers of Velvet Underground, Nick Drake, Tom Waits and John Lee Hooker (via The Doors) pepper the tracklist, and none feel like filler. “RIVER MAN” in particular: recorded alone in 2010: is delicate and imperfect in the right way. It plays like a time capsule, and somehow holds its own amid the chaos
At 30 tracks, the album is purposefully disorienting. It’s a flood, not a playlist. But there’s a method to the mess. Acoustic pieces like “Oversoul” and “Surrender” sit beside mangled industrial noise, and yet nothing feels out of place. Even the most beautiful moments feel precarious, like they could unravel at any second. That tension: between structure and breakdown, between beauty and fury: is the engine that drives this whole thing.
Post Death Soundtrack doesn’t care about the rules of cohesion or accessibility. What Moore has done instead is pour out an album that feels like a real-time psychological document. It’s not an easy listen. It’s not supposed to be. But it’s honest. And that honesty, jagged as it is, hits harder than any genre conformity ever could.
IN ALL MY NIGHTMARES I AM ALONE is what happens when someone makes a record because they absolutely had to. You hear it in every scarred second.
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