Post Death Soundtrack‘s 5th full-length album “IN ALL MY NIGHTMARES I AM ALONE” is an eclectic collection of bastard children, some who have survived far too long on a diet of scrap. Having grown up loving albums like Nirvana’s ‘Incesticide’ and the Smashing Pumpkins ‘Pisces Iscariot’, Stephen Moore has always had a love for b-sides, outtakes, covers, and raw new expressions. He merely asks himself ‘Is it good?’ Although this album has both brutish output and beautiful pieces, the themes are difficult to unpack. “TREMENS” was finalized when Stephen Moore was literally in the middle of the dreaded Delirium Tremens. There is a 15 % chance of death. He called emergency at the peak of the experience, and was told nobody would want to help him. Maybe just brave it and go back inside. So he and did just that. As of today, he is still around, and so is stigma surrounding addiction.
“This album is in some ways a complete breakdown in audio format. I find it beautiful and powerful to express what often is not acknowledged or communicated. I learned that from Kurt Cobain and I’m very proud of this work.” – Stephen Moore
During the promotion of 2024’s acclaimed ‘Veil Lifter’, Moore discovered the bones of a forgotten album, most of which had been recorded between 2009 – 2011. Some are on the experimental industrial and noise side of the sonic realm, while many are acoustic-based, a few of which were almost too pretty to be included. There are also new expressions that make up half of the album, both originals and covers alike.
Album openers “TREMENS” and “GOOD TIME SLOW JAM (IN ALL MY NIGHTMARES I AM ALONE” rage with a feral, reckless and wholly uncensored energy. Although the lyrics play a strong role, there is disturbing content here as it involves mental health struggles during crisis. Stylistically, these tracks fit well with artists like Skinny Puppy and Nine Inch Nails. “CRAWLING KING SNAKE”, recorded in May 2025, delivers an altogether unpredictable take on The Doors and their stellar version of John Lee Hooker’s classic blues expression. “HYPNOTIZER” riffs on Led Zeppelin’s love for Eastern melodies that intertwine with solid hooks while delivering a message about lack of media, social and emotional literacy. “SOMETHING STIRS”, also recorded in May 2025, is a song of mourning, partially based on the children’s campfire story “Who Has My Golden Arm?”, and partially based on Moore having his kittens stolen in the middle of the night. Yes, truth is often stranger and more twisted than fiction. “FINAL DAYS” is full-on punk rock with a rockabilly insanity to it, imagining the end of the world in a slightly comedic way and honoring both Refused and Swing Kids with it’s vicious energy.
Doo Wop Doo Wop Doo Wop Doo Wop Doo Wah!!!
“River Man”, an earnest cover of Nick Drake’s subtle classic, is very much a happy accident. Imperfect, yes. Moore recorded this himself in his apartment in 2010 after discovering he loved Nick Drake’s level of sensitivity and knack for communicating dark things through surreal lyricism. This is one of those cases where the performance just works better than a studio take and stands alone as it is. It could be the centerpiece of this release.
“God’s Away On Business” is another of Moore’s favorite Tom Waits tracks, and is has a new groove, as it would be inappropriate to attempt to impersonate the man. Passion runs all of this process.
“Reckless Fever”, “Oversoul”, “Start This Over” and “Surrender” are moody acoustic tracks with a similarity in their sense of existential longing. Both were written after Moore discovered his love for all things Leonard Cohen.
“What’s He Building In There?” is newly recorded in 2025. It is one of Stephen’s all-time Tom Waits favorites, although there are many of them. This is the ultimate take of the nosy neighbor.
“An Anything” is a dark and moody, obscure cover of one of Stephen Moore’s life-long friends, Ryan Smith AKA My Arm Is An Ocean.
“Song for Bonzai” and “Desert Wind” provide more beautiful more acoustic expressions. “Song for Bonzai” is the only instrumental on this release. Originally titled “Song of Joy”, after additional instrumentation and production, it is appropriately called “Song for Bonzai” in tribute of the brave black cat Bonzai, Stephen’s beloved animal companion who passed very recently after a fight with diabetes, undiscovered underlying issues, and brutish vets. He was the bravest cub, but had too much goodness for this Earth and was simply stopping by. Moore made this album happen in the throes of mourning his boy. The pain on this album is real. “Desert Wind” is another apartment recording, recently mildly treated. It is a very simple song that carries some magic with it’s presence.
The tracks “What Did You Just Call Me?”, “I Would Surmise”, “Control”, “Trigger Finger”, “White Mare”, “Get Your Tickets Ready” and “In All My Nightmares I Am Alone” were all recorded in 2025 as Stephen Moore put together this release.
Eclectic, brash, raw, revelatory, mournful and resilient. Post Death Soundtrack‘s 5th album “IN ALL MY NIGHTMARES I AM ALONE” is a singular work when you look closely enough. The same heart, spirit and pain pervade this wide-ranging collection.
Currently, Stephen Moore is working on the final touches for his new album with industrial/doom metal/alternative project HE IS ME, which is a duo him and Portland artist/musician Casey Braunger formed. Casey and Stephen are artistic collaborators and very close friends as well. Their upcoming album will be called “HEL’S MOUTH”, and will contain 14 or 15 songs of dynamic shifts, tense arrangements, sludgy, guitar-driven metal, industrial, hard-edged grooves, ambient pieces and very much a battling mindset.
Post Death Soundtrack‘s “IN ALL MY NIGHTMARES I AM ALONE” is at once uncensored chaos, frustration, and subtle beauty. This project exists to ring a monolith of alarms where voices were once silent. It will reach streaming services May 23, 2025.
