Post Death Soundtrack Unleashes Raw, Unfiltered Chaos with New Album “IN ALL MY NIGHTMARES I AM ALONE

Post Death Soundtrack Unleashes Raw, Unfiltered Chaos with New Album

Follow the band at these links:

https://www.postdeathsoundtrack.com/

https://www.youtube.com/channel/UC9_lMe1Aqt8oQ1tiUvm8wgg

https://music.apple.com/us/artist/post-death-soundtrack/294140179

https://www.instagram.com/post_death_soundtrack/

https://postdeathsoundtrack.bandcamp.com/album/veil-lifter

“IN ALL MY NIGHTMARES I AM ALONE”

Independent Release – May 30, 2025

Streaming May 23, 2025 | Available now via Bandcamp

https://postdeathsoundtrack.bandcamp.com/album/in-all-my-nightmares-i-am-alone

Post Death Soundtrack returns with its most personal and visceral work to date — IN ALL MY NIGHTMARES I AM ALONE , the fifth full-length release from the genre-defying solo project of Calgary-based artist Stephen Moore. Out May 30, 2025, the album is an expansive, 30-track double LP that drags listeners through the sonic wreckage of trauma, grief, and truth — and emerges with unexpected beauty.

Following the acclaimed 2024 album Veil Lifter , which earned placements on the Doom Charts and several “Best of” lists, Moore unearthed recordings from over a decade ago — unfinished, experimental, and deeply raw. Revisiting and reinventing those ideas, he merged them with 15 brand-new tracks written in the throes of isolation and loss, producing an album that feels both immediate and haunted.

“This album is, in some ways, a complete breakdown in audio format,” says Moore. “It’s an attempt to express what’s often left unspoken — the inner chaos, the unhealed wounds, the beauty within pain. I learned that from Kurt Cobain. I’m proud of this work.”

Across IN ALL MY NIGHTMARES I AM ALONE , Moore weaves grunge, industrial, doom, noise, punk, post-punk, and folk into an uncompromising and eclectic listening experience. Whether channeling scathing fury or mournful reflection, he holds nothing back.

Album Highlights:

“TREMENS” – An industrial-grunge fever dream born during an actual Delirium Tremens episode.

“A MONOLITH OF ALARMS” – A searing anthem for the voiceless, drawing comparisons to Front Line Assembly.

“GOOD TIME SLOW JAM (IN ALL MY NIGHTMARES I AM ALONE)” – Unhinged and uncensored, a descent into the subconscious.

“SOMETHING STIRS” – A chilling mix of folklore and personal tragedy.

“VENUS IN FURS” , “Crawling King Snake” , “God’s Away on Business” , and “River Man” – Daring reimaginings of classics by The Velvet Underground, The Doors, Tom Waits, and Nick Drake.

“Song for Bonzai” – A heartfelt instrumental tribute to Moore’s late feline companion, capturing grief with acoustic grace.

Throughout, Moore’s voice — whether snarling, crooning, or cracking — anchors the chaos. His lyrics explore addiction, abandonment, mortality, and the slippery nature of sanity. It’s unfiltered, unapologetic, and wholly unique.

The album also features the hauntingly poetic “HYPNOTIZER” , the devastating “WE FALL” , and an explosive punk finale in “FINAL DAYS” . Tying it all together is the surrealist thread running through both the music and the concept — a dreamlike, disjointed descent into the artist’s subconscious.

Watch the official videos now:

“A MONOLITH OF ALARMS”

“GOOD TIME SLOW JAM”

“TREMENS”

“SOMETHING STIRS”

“God’s Away on Business”

IN ALL MY NIGHTMARES I AM ALONE is not merely an album. It’s a testimony — a monolith of alarms — for anyone who’s ever stood alone in the dark and screamed back.

Stephen Moore is currently finalizing a new release with HE IS ME , his industrial/doom collaboration with Portland artist Casey Braunger . Titled HEL’S MOUTH , that album promises yet another immersive, genre-bending sonic experience.

1. The Album’s Origins & Concept
IN ALL MY NIGHTMARES I AM ALONE is described as your “most personal and visceral work” yet. What compelled you to create something so raw and unfiltered?

I’ve committed myself to always speak my own truth and create the art I truly want to make. I feel that music is a safe space to do and say whatever you like, and to alter that or appease anyone, to me personally, would be deeply wrong. All my work tends to be quite dark in some way, and I view that as a positive thing, because I’m not afraid to venture into the shadow, or the crude unconscious mind and come back with something I find powerful. There have also been numerous traumatic events as well as situations where I have felt misunderstood, so using my voice became all the more important.
The album merges decade-old unfinished recordings with 15 new tracks. How did revisiting those old ideas shape the final product? Did you discover anything surprising about your past self?

Most of the old tracks were simply unreleased because I was busy with two other active projects at the time, and the amount of content, as well as how it was all prepared, did not perfectly flow as it was. It was originally intended as a solo work under my name Stephen Moore. Some songs, like Tremens, We Fall and Good Time Slow Jam, I changed quite radically, making them much heavier, adding many industrial and avant-garde sounds over top. There are choirs, furnaces, drones, white noise, synths and even a forklift backing up to add to the overall sense of chaos. Other songs like Tom Wait’s ‘God’s Away On Business’, had simpler alterations such as adding a half-time beat that really pepped up and changed the groove. Overall, though the initial batch of songs contained too much acoustic work for me and I wanted this project to be heavier. So I created new songs like “A Monolith of Alarms” and “Fast Approaching Radiant Light” to pick up the energy. I also covered some of my all-time favorite songs such as Velvet Underground’s “Venus in Furs” and The Doors’ version of “Crawling King Snake”.
You’ve called this album “a complete breakdown in audio format.” What does that mean, and how does it reflect your emotional state during its creation?

I was experiencing heavy depression, several traumatic events happening at the same time, mourning the loss of an animal under very poor circumstances, and even a time period during the making of this project where I experienced several days of a waking nightmare called Delirium Tremens while quitting alcohol and having no medical assistance.
2. Themes & Lyrics
The album explores addiction, grief, trauma, and isolation. Were there specific experiences that fueled these themes, or is it a broader reflection on mental struggle?

I have an addictive personality and much experience with addiction, both with substances mainly in the past, and alcoholism until recently. These issues are almost always born of mental illness, depression, trauma, ptsd or other emotional upset. Often addiction ends up being not the sole issue to one experiencing it, but the way people often feel free to treat you and speak to you that becomes the most shocking. Stigma is ugly and brutish. I’ve struggled with severe depression my whole life so that has given me a unique view on life, often helpful and sometimes misunderstood in art.
Tracks like “TREMENS” (born from a Delirium Tremens episode) and “Song for Bonzai” (a tribute to your late cat) feel intensely personal. How do you balance vulnerability with artistic expression?

Actually, my writing has become so intuitive at this point and comes so quickly, that all I do is ask myself, my inner editor, is it good? It can be raw, dark, strange, seemingly too easy or unfinished as a sketch…I don’t question too, too much because I feel like that is how things don’t get created or finished. I grew up with an Edgar Allan Poe anthology and all those stories were dark. It was just his style.
You mention Kurt Cobain’s influence in embracing chaos and pain. How has his approach to music impacted your own creative process?

His work was both abstract and enraged, uncensored. It inspired when I was quite young, attending a strict private school, feeling unwelcome. Many people in my life perceived life very literally, but I found an understanding and deep inspiration in Nirvana that stays with me to this day.
3. Sound & Genre Experimentation
The album blends grunge, industrial, doom, noise, punk, and folk—often within the same track. How do you decide which sonic direction a song should take?

It, for the most part, came about naturally, and of course, some of them were one-off songs, such as ‘Final Days’, the most punk track on the album. Others, such as many of the acoustic songs, were intended as being part of an acoustic release. I do mix genres but they seem to go together seamlessly for me. It all shares my energy.
“A MONOLITH OF ALARMS” draws comparisons to Front Line Assembly, while “GOOD TIME SLOW JAM” feels like a descent into madness. How do you shift between aggression and melancholy so fluidly?

Just as I shared before that I ask myself ‘is it good” when I write, I also tend to ask myself if it’s upsetting. I know that may seem like a strange question to ask. But it makes sense to me, because I want people to feel something, and that is positive to me. I recently caught a video of Gene Simmons getting to meet the soldier who rescued his Mother from the concentration camps and that very much got me emotional, upset even. So, if I put together a song and it brings up deep emotions, if I feel anger, mourning or ready for battle, I know it’s good.
You cover The Velvet Underground, The Doors, Tom Waits, and Nick Drake. What drew you to these artists, and why reimagine their work in this context?

I have such deep respect for them all and love their work. The song choices have stuck with me over the years and resonated deeply with me. “River Man” was almost not on this release, until a very close friend as well as other important people to me pretty much implored that I should release it. I was concerned that it was an apartment recording. But it caught a moment of magic. So now, I’m so happy I did release it.
4. Production & Creative Process
As a solo project, how do you approach recording and production? Do you isolate yourself to channel the album’s intensity, or is it more structured?

I was never producing before, and mainly wrote, recorded, etc with an engineer. More recently I use Bandlab for production and have found the results surprisingly good. I have improved very much since starting, and now new gear is selected and incoming to fuel the next release. I do record in isolation as I want to tap into my inner feeling. I want to feel the music as I make changes, produce it, etc. I want to make a ritual of it.
Were there any unexpected challenges in making a 30-track double LP? How did you maintain cohesion across such a sprawling work?

There weren’t too many of these. Just learning as I went along. There were some cases of things coming out not the way you anticipated, going back and editing, as well as losing recorded music because of not respecting the save button haha.
The album’s rawness feels intentional—almost lo-fi yet meticulously crafted. How do you balance chaos with control in the studio?

The next one will not be like that nearly as much. Part of the reason why this one has that aspect, is because many of these songs were built over something that should not have been built over at all. Literal room recordings, very crude, recorded on my phone. Actual song sketches, not even prepared, where I sat down to write and started singing. I might then add some new vocals and effects, but there is no way to delete the initial piece. I like it that way, for this album, although I have other plans for the next few.
5. Visuals & Artistic Vision
The music videos for “A MONOLITH OF ALARMS,” “TREMENS,” and others are stark and haunting. How do visuals complement the album’s themes?

I wanted the aesthetic to be as something forgotten that rings back unexpectedly, or a warning that takes over the airwaves when a happy family is watching their favorite show. I also became open to myself merging and becoming a type of symbol; perhaps for others not to be shut down or disrespected, not even for a second.
The title IN ALL MY NIGHTMARES I AM ALONE evokes deep solitude. Is this album meant to be a solitary listening experience, or do you hope it connects people through shared pain?

I feel that is can do either. I’ve had friends call me after showing groups of people the album and it’s a powerful communal experience. This is also an album that very much works with deep solitude.
6. Collaborations & Future Projects
You’re working on a new release with HE IS ME (your project with Casey Braunger). How does HEL’S MOUTH differ from Post Death Soundtrack’s solo work?

I would say that it makes a lot of sense. HE IS ME is it’s own identity and has unique and incredible hallmark’s of Casey Braunger’s musical and artistic approach, his ethos. He also has an uncensored view towards music that I share. And I’m happy to say that I’m pretty certain anyone enjoying what I do, including PDS, will likely love the upcoming HE IS ME album, as it veers evenly between industrial rock/metal, doom/sludge metal, ambient and cinematic sounds as well.
After such an emotionally draining album, what’s next? Do you see yourself exploring lighter themes, or is this intensity your creative lifeline?

I would say it’s likely my creative lifeline at this point and what I tend to do well. Perhaps I can explore lighter themes in an emotionally draining way! We’ll see.
7. Final Thoughts
If listeners take one thing away from this album, what do you hope it is?

I hope it’s a sense of inner welling of emotion and that they feel ready for battle.
For those who’ve never heard Post Death Soundtrack, which track should they start with to understand your world?

“Good Time Slow Jam (In All My Nightmares I Am Alone)”
Thank you so very much for taking the time with such incredible and in-depth questions. I really appreciate it!