Post Death Soundtrack’s fifth album, ‘In All My Nightmares I Am Alone’, is not for the faint of heart. It’s unadulterated and exposed, together from pain, fear, and moments of delicate beauty. Stephen Moore lets it all out — every scream, whisper, and whimper feels like lived experience. Through 30 tracks, Moore shatters all structural and stylistic boundaries, creating a deeply personal and emotionally raw album. “Tremens”, the album’s first track, was written during a Delirium Tremens episode. It doesn’t try to soothe — it’s supposed to unsettle you. Unsettlement continues in “Good Time Slow Jam (In All My Nightmares I Am Alone)”, a noisy, panicked, and vulnerable meeting of words and noises. “A Monolith of Alarms” is also a standout, filled with ghastly lines and feelings of collapse — a cry for those who can’t cry.
“Venus in Furs” stays the same in essence, but with a different edge. “When the World is Burning Bright” is eerie and poetic, walking the streets alone at 3 AM. “Fast Approaching Radiant Light” explodes, like chaos can be beautiful. “Something Stirs” cuts to the bone, full of real loss and strange betrayal. You feel the mourning in every note. “We Fall” is a moment of only seconds, but it’s crushing. “Hypnotizer” is an almost melodic, half message and half melody. “River Man” is raw, home-recorded, and covered, like you’re sitting in the room with Moore. “Final Days” goes punk and odd, the perfect mix of anxiety and satire. “Reckless Fever”, “Oversoul”, “Surrender”, and “Start This Over” are all private diaries, lonely and truthful. “Crawling King Snake” and “God’s Away on Business” are unexpected takes on classics — they aren’t polished, but gripping.
“Marrow” and “Control” have a sharper, industrial bite, and “What’s He Building in There?”, it is another case of Stephen Moore’s obsession with sound storytelling. “Song for Bonzai” is one of the album’s most moving moments, a soft tribute to his dead cat. “Desert Wind”, like River Man, has that same lo-fi charm. “Trigger Finger”, “White Mare”, “What Did You Just Call Me?”, and “I Would Surmise” take Moore back to his chaotic, violent side, angry and lacking control. “An Anything” is a cover of a friend’s song, intimate and weighted. “Get Your Tickets Ready” is sharp and uncomfortable, and “Nothing” is thoughtful and introspective, like a last thought. And the album’s namesake, “In All My Nightmares I Am Alone”, is a final point, everything and nothing in one song. The chaos, the silence, the pain, the grief, and the fight. This is an album for those who need to scream, those who need to speak, and those who need to know they aren’t alone.
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