There’s a lot that’s really, really right on Barren Mother of All, the latest album from Post Death Soundtrack, that’s set to be released on July 14. The entire ethos and appeal of the project, for example, is steeped in dark sounds and colors, brooding tracks, and music that moves. Mind you, this is largely, if not exclusively, the brainchild of Stephen James Moore, the man once noted for quipping that he doesn’t like happy music, or something to that effect.

On this project, he has good reason not to. One of the most compelling of those reasons is “No Loss”, a virtual horror film on wax, minus the vinyl, of course. The production on the album may be epitomized by the corpulence of the snare on this one, which is the apex of a simple, plodding drum pattern, ostensibly to showcase it even more. Speaking of more, your man J’Moris even touches down on this one, with what likely is a heartfelt 16 bars of well designed rhymes.

Yet the vocals of the hour on this tune unambiguously are attributed to Moore. As slow as the beat is, he seemingly sings even slower than it. Plus, he surely put his chops to work on the sick synths and those high keys, which are full of both trepidation and admonition, were such a thing possible.

Still, far from musially losing the listener on a lonesome full moon eve, stranded on the highway dolo, the artist inverts this paradigm on the opening number, “Queen Bee”. The track clocks in at least in the mid-90s BPM, and is adorned with a keyboard riff as infectious as the keys inspire terror on “Loss”. The drums are nothing short of effervescent, and once again Moore doesn’t disappoint on the vocals, dropping lines like “You want to kill the queen, yet I’m still alive.”

Did we mention that you’re treated to a whopping 30 tracks on this double album, with some versions also featuring as many as five bonus cuts? With all of that material, there’s room to not only cover a range of styles and subjects, but also to tear asunder new dimensions, as well. One wouldn’t be wrong for accusing Moore of doing the latter on “Bitches Brew”, which perhaps is a nod to the Miles Davis classic of the same name.

The piano is extremely high and eerie, rife with tension, as low-fidleity strings fill in the space spilling between notes. Moore’s wavering vibratto does the cut justice, which throws you into left field with its scattershot percussion and drums that move way quicker than the rest of the piece does.

It’s just a little sample of what Post Death Soundtrack has in store for you on this one. Take a deep breath, grab someone’s hands tight, and take a gander, or simply listen closely, to see for yourself.