On 1st May, Weird Nightmare releases their second LP, Hoopla, on Sub Pop Records (and Dine Alone Records in Canada). Hoopla is bursting with ‘60s pop and rock hooks and optimism. Co-produced by mainman Alex Edkins and Jim Eno, it was recorded at Seth Manchester’s Machines with Magnets. Edkins is well acquainted with Machines, having used the studio to record Metz’s final two studio albums.
Hoopla overflows with new ideas and ups the production quality from their 2022 self-titled debut. With nine brand new tracks, including Forever Elsewhere, which was previously released as a standalone single in October 2025. This also continues Edkins’ relationship with Sub Pop, which began in 2012. Metz would go on to release all their studio albums with the world-famous Seattle label. Though Metz went on indefinite hiatus in 2024, Weird Nightmare is the silver lining of this heartbreak.
Edkins doesn’t hold back in growing as a songwriter; this isn’t Metz 2.0. Incorporating a blend of influences from The Replacements to Elvis Costello, he fully embraces power pop songwriting and a radio-friendly aesthetic. While this is a solo project, Edkins brought in Loel Campbell on drums and Roddy Kuester on bass. Hoopla is predominantly upbeat and stacked with catchy melodies. To be fair, some of these elements did exist within Metz, but here there’s a more traditional approach to song structure, with almost no emphasis on harsh or extreme soundscapes. Hoopla is a record you will turn on and turn up. Edkins cites The Undertones and Protex as influences, particularly “the simplicity and big bar chords.”
Headfull Of Rain begins with a purposely soft guitar intro before a massive surge in volume and sound. The chorus “I want to write you a love song and not throw it away, it’s been taking me too long, I’ve got a headful of rain” sets a great tone for what follows: bright guitars and a conveyor belt of melodic hooks. Might See You There comes to life with squealing guitars and drives along utilising a pop formula. At two minutes long, it’s economical, catchy, and radiant. The call and response in the chorus—“I might see you there, coming home”—is so good you can’t resist singing along, and capped off with piano and xylophone.
Baby Don’t sports a chorus vocal melody and harmonies that have instant appeal. They’re presented in two ways during the song: one with just guitar and vocals, and the other backed by the full band, both to great effect. Writing something this simple is deceptively difficult. The previously released Forever Elsewhere brims with hope, especially with its line “Love, it will come.” There’s a hint of fellow Sub Pop alumni Male Bonding here—they also knew the merit of a simple tune played at a cracking volume. Edkins hasn’t shown his full hand yet, and Never In Style surprises with elements of ‘60s girl groups while still finding space for the swagger of T.Rex.
Second single Pay No Mind took inspiration from a tourist T-shirt: Edkins explains, “I’m so broke, I can’t even pay attention.” While on the surface it sounds like a continuation of the album’s overall positive tone, it also exposes the temptation to look inward and find distractions when the world around you becomes particularly oppressive and negative. Easing off the gas a little, If You Should Turn Away is laid-back and more gentle, with its Shadows-inspired guitar solo. There’s a lovely wandering bass line and some cool guitar fills to appreciate. The only track on Hoopla that feels remotely like Metz is Little Strange. It has a bombastic quality and all the potential to dial in a heap of aggressive guitars and drums. Instead, it’s pared back and given a more subtle treatment.
Julianna Riolino joins Edkins for some breezy backing vocals and takes the lead on parts of Bright City Lights, their voices blending beautifully. It’s another polished track, boasting more great melodies and satisfying resolutions. You could imagine a song like this getting heavy rotation on college radio in the ’90s. The colourful abstract painting that adorns the records cover was created by Jamie Morrison. Edkins liked it so much that it now hangs on a wall in his home. It makes for an intriguing image, with its abstract collection of figures, pyramids, and palm tree.
While many of the influences on Hoopla come from the past, it never feels like Edkins is imitating or lifting directly. He’s taking inspiration, mixing different flavours, and bottling them up with a dash of his own sugary guitars and carbonated vocals. Hoopla is Weird Nightmare’s best record so far—overflowing with enthusiasm, taking aim at pop perfection, and showcasing Edkins’ growing talents.
Now that Weird Nightmare has become Edkins’ main creative focus, the band is heading out on tour ahead of Hoopla’s release. With headline dates already on sale for North America, Canada, and Europe, as well as festival appearances at Soundscape in Portland, they’ve also lined up strong support from Mrs. Magician and Wintersleep. Don’t miss the chance to hear these tracks live and at maximum volume.
For fans of: Parquet Courts, Wavves, Jay Reatard
‘Hoopla’ by Weird Nightmare is released on 1st May on Sub Pop Records / Dine Alone Records.
Words by Ross Peacey
