POST DEATH SOUNDTRACK’S GRUELING NEW LP, ‘IN ALL MY NIGHTMARES I AM ALONE,’ WILL HAVE YOU QUESTIONING EVERYTHING
This year has seen an uptick in left-field experimental music—rightfully so. Political turmoil, social upheaval, and general unrest are often catalysts for creativity. It’s not unlike the ‘60s, when records pushed boundaries and ushered in change. Now, however, artists have more references to borrow from. Post Death Soundtrack, the passion project of Stephen Moore, spares no prisoners. Instead, it calls to action within every second, even in moments that sound like a car crash, you can’t look away from. Moore’s mental state, while concerning, lends itself to some fascinating creative choices, especially in his new album, In All My Nightmares I Am Alone. Though the title is missing a comma, I can look past its flaws to focus on the good stuff, of which there is plenty!
Truthfully, it’s not my typical cup of tea; I find most industrial or drone music to do just that…drone. There is only so much you can do with these soundscapes, but Moore’s opening track, “Tremens,” showcases what I believe the genre’s intentions were initially. It’s difficult to stomach, and many won’t get past the record’s first few moments due to its overwhelming nature. However, if you’re able to sit through the introductory track, you’re in a good spot to enjoy the eclectic mix of sounds and themes. Moore is, essentially, detailing a mental breakdown in the form of an LP. Of course, as a result, it’s going to feel a bit tricky (at best) to listen to. However, “Tremens” does a fantastic job of unsettling the listener. They say that great art will disturb, and that it does.
Though not all the tracks showcase uncontrolled chaos. Instead, some of them draw from Moore’s influences like Nirvana, including “Good Time Slow Jam (In All My Nightmares I Am Alone).” Moore does an excellent job of emulating Cobain without copying him, the truest sign of respect from a fan. One criticism I may offer Moore, on a technical scale, is that he doesn’t always need to emphasize the vocal delay to depict his mental anguish. The choice is understandable—racing thoughts often sound like this when they are felt—but when it’s emphasized too heavily, the concept tells more than it shows, which goes against Moore’s typical strategy. The rest of this song and record show rather than tell, except for when Moore relies on theatrics, such as post-production vocal delay. It’s great in moderation, like anything else!
That is to say that Moore is a technically skilled musician and composer. It takes a considerable amount of knowledge to articulate such profound, elevated thoughts. Otherwise, Moore is an expert storyteller; he understands that it’s better to confront frightening or unsettling emotions instead of running from them. In a way, the record itself is beautiful thanks to this paradox; its brutality and gore are poetic, leaning towards a self-awareness that’s only earned after perhaps too much time spent with oneself. Aside from minor technical gripes, the work that Moore has put into these songs should be esteemed. Sure, it’s imperfect, but so is the human experience. There are moments in the record where the vocals may be imperfect or slightly off-key, but they serve their purpose within the work. I don’t think Moore’s goal is to have a perfectly polished pop vocal. In All My Nightmares I Am Alone, " the film poses audiences with a tricky question: why do we listen to music?
For many, music represents their only true escape from thoughts like Moore’s articulated experience. For others, it’s an outlet to face them head-on. While the record is undeniably bloody at its core, a broad audience would find comfort in that. It’s the same phenomenon that drove death metal and hardcore rap to popularity. Although many of those audiences are still niche, they are passionate, and Moore already has a crowd following his work after releasing five full-length albums. So, while it may not be in my regular rotation, I have much respect for 'In All My Nightmares I Am Alone' and the work it could do for mental health at large. The record could be well worth studying by psychologists; its exploration of the human mind is vast and, arguably, profound. I’m glad that it made me squirmish.
Adding to Moore’s daring creative choices are a few covers sprinkled throughout the movie-length LP. His Tom Waits covers were phenomenal, once again emulating without replicating. They were instantly recognizable, but different enough to serve their purpose in the record’s narrative. Honestly, I feel as though the Waits covers were my favorite moments in the album. Moore leans into the darker elements of Waits’ work that are often heavily overlooked. Of course, both artists tackle mental health topics, often utlizing theatrics to get their point across—but, it feels entirely different when placed in the context of In All My Nightmares I Am Alone. Contextually, Moore’s mental breakdown unfolds like a gorgeous, relentless mosaic, made more cohesive by the presence of already familiar songs.
In All My Nightmares I Am Alone may be quite the paradox, but it is a necessary one. The record is one of those that historians will look back on and study in the future. It’s imperfect, but yes, that is the point. There are moments where the lead vocal veers off-key or too loud in the mix, but it immediately redeems itself with its lyrical material. Stephen Moore’s creative choices are slightly off-putting, but completely necessary. We can’t always run from the things that scare us; instead, we must listen to them…for an hour and a half.