Enter the world of spiraling and succumbing to inner darkness in this 30-track album IN ALL MY NIGHTMARES I AM ALONE by Post Death Soundtrack, an auditory sensation like a spider skittering across your skin. Listening to every track feels like being pulled into an abyss of uncertainty — a descent through layered grief. And if you’re the type with skydiving unticked in your bucket list, this album might just be the next big thing.
Post Death Soundtrack, a solo project created by Stephen Moore, a Calgary-based musician known for his alternative rock and doom metal music, started making waves in his 2024 album Veil Lifter. A year after this acclaimed album, Moore is out with IN ALL MY NIGHTMARES I AM ALONE, which doesn’t really deviate from what Veil Lifter started but rather introduces more flavors to the genre.
Tremens as an opener to this album reminded me of Angel to Massive Attack’s third studio album, Mezzanine. It’s not too in your face but it delivers that feeling of being watched — of the voices creeping in slowly and uncomfortably. Each drag of breath and tingle of static evoking a disorienting feeling, the track pushes its listeners to the brink of madness just enough until Good Time Slow Jam catches you with its equally doom-foreboding voice.
Monolith of Alarms has a nice buildup and groove in restlessness. You can’t help but find yourself nodding along to the beat of reckless abandon. It’s one of the tracks you’d most likely play first if you’re introducing this album to a not-so-tolerant-to-the-dark-genre friend. And just as you think three songs in the album couldn’t get any better, in comes Venus in Furs, Moore’s cover of one of The Velvet Underground’s standout songs. It’s raw and conveys a different feeling from the original. As if the mistress in question is a ghost haunting a man.
Moore tells a story of terror in succession in his latest album. It’s a narrative of tragedy, coping with madness, and exploring both ends of extremes. Some tracks are tamed and contained, while some are punchy, angry, and packed with adrenaline. Fast Approaching Radiant Light, true to its title, feels like being hit by a bullet train traveling at the speed of light. Channeling threat into sound with ‘code black’ being a recurring lyric, on top of the tension brought by the violin lulling you into a false sense of security as the song reaches an end. This track encapsulates the beauty in chaos, makes me want to walk into a traffic jam and dance to the sound of endless sirens.
IN ALL MY NIGHTMARES I AM ALONE has countless moments of typical highs and lows but executed excellently and surprisingly memorably. Final Days and Hypnotizer were pleasantly puzzling, each hitting differently.
Hypnotizer threw me into an ocean of idleness. A melody compelling you to sit back and enjoy the current life — a great candidate for the anthem of nihilism, comforting to a certain degree.
But whatever semblance of comfort Hypnotizer has established, Finals Days bulldozed through. This 4-minute song of mayhem triggers a physical reaction. It makes you want to jump and move until you pass out, sending your brain into an overdrive. It’s a rare case of songs with no rests that I appreciate.
I came across this album just as I’ve found myself in a slump. Maybe it’s the cyclical pattern of events lately. The feeling of running away from nothing towards something endlessly — a modern Sisyphus if you will. This must be why IN ALL MY NIGHTMARES I AM ALONE succeeds in captivating the jaded hearts of its listeners, looking for a spark of chaos in the middle of mundanity.
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