Alex Edkins on chasing simplicity, writing against complacency and finding joy in the noise with Weird Nightmare.

After 15 years fronting METZ, Alex Edkins steps into a different kind of immediacy with Weird Nightmare. Still rooted in distortion and instinct, his latest work leans into melody, sharp hooks and a stripped-back approach that pulls from power-pop, punk and garage without ever feeling like a throwback. On Hoopla, Edkins refines that balance, pairing bright, addictive songwriting with a more pointed, restless edge.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

Alex Edkins. I'm a songwriter, guitarist, and producer from Ontario, Canada. I spent the last 15 years with my band METZ and I'm releasing new music as Weird Nightmare.

‘Pay No Mind’ has that immediate, hooky feel but there’s something darker sitting underneath it, what drew you to that contrast?

I've always loved songs that sound happy and care-free but are more sinister once you look closely. "Help" by the Beatles comes to mind or "I Wanna to Destroy You" by the Soft Boys. "Pay No Mind" is certainly not to be taken at face value lyrically. It is an indictment of stupid complacent people.

The lyric “I’m so broke, I can’t even pay attention” feels funny and bleak at the same time, what made that line stick with you enough to build a song around it?

I lifted that line from an Atlantic City Casino t-shirt I saw in a thrift store. While intended as an innocuous one-liner it seemed to perfectly sum up the modern condition in 2026.

You’ve spoken about information overload and becoming more insular, do you see ‘Pay No Mind’ as a kind of coping mechanism or more of a reflection of that state?

I think it points to a bigger problem. If we are overwhelmed and emotionally beaten down by daily life, the chances of us uniting and combatting corruption are very small.

The video pulls from Elvis Costello and Buzzcocks visuals, how important are those reference points when you’re shaping the identity of Weird Nightmare?

I think The British Invasion and things like the Nuggets compilation of U.S. garage bands have always been a huge inspiration in my songwriting. Same with the 70's punk bands The Damned, Buzzcocks, The Clash, The Undertones. I love simplicity, I love hooks, and I love distortion.

Compared to METZ, Weird Nightmare leans much more into melody and classic power-pop structure, did that feel like a conscious shift or something that happened naturally?

That happened very naturally and gradually. My songwriting has been continuously evolving. It's like being a carpenter, the more you do it, the better you get. At least that's the hope. I've always been a believer in less is more.

Hoopla feels brighter and more immediate, what were you trying to do differently with this record compared to the first Weird Nightmare release?

Well, the first record was an experiment. It was a lo-fi bedroom record that I made during COVID lockdown. With Hoopla, I wanted to make a great sounding record. And I think we did. I worked with a phenomenal team of people who deserve a big piece of the credit.

You worked with Jim Eno on this album, what did he bring to the process that helped shape the final sound?

Working with Jim Eno was a complete joy. I've always loved Spoon's records. They have a sharpness and minimalism that only Spoon can pull off. Jim brought what can only be described as a childlike level of excitement to the studio everyday. I will always remember doing clap tracks and percussion with Jim and just being in hysterics the whole time. It was a truly fun experience and I think you can hear it in the music.

There’s a real emphasis on simplicity, big chords, direct hooks, what do you think makes a power-pop song actually stick?

It's impossible to break it down in over simplified terms but I think there is a magic that happens when you hit the perfect chord progression or harmony. Why do I get shivers every time I hear the verses of "Stop! In The Name of Love" by the Supremes? I have no idea! But I'm glad that magic exists.

A lot of these songs feel nostalgic without being stuck in the past, how do you balance those older influences with something that still feels current?

I think most musicians are, in part, reflections of their record collections. I love the Kinks as much as I love Minor Threat or Sonic Youth but I've never sounded like any of those bands. I have no interest in creating facsimiles or music that is intentionally "retro" or "throwback". Putting my own distinct stamp on my songs has always been a source of pride. My songs are gonna sound like my songs.

Your live shows have a reputation for being pretty immediate and high-energy, what do you want people to feel walking out of a Weird Nightmare gig?

I can't help myself from getting carried away when we play live. I love live rock and roll music. I think it's a powerful force for good in this world.

You’re heading into your first UK shows later this year, what are you expecting from those crowds compared to North America?

The UK were early adopters and supporters of METZ so I hope the same for Weird Nightmare.

With Hoopla, do you feel like you’ve fully established what Weird Nightmare is, or is it still something you’re figuring out as you go?

I think it's a constant journey and always changing but I'm super proud of this record and want people to hear it.

What do you love right now?

Sonny Rollins.

What do you hate right now?

AI.

Name an album you’re still listening to from when you were younger and why it’s still important to you?

Redd Kross - Show World. Puts a smile on my face every time. Great songs with a distinctly 90's recording.

When someone hears your music for the first time, what do you hope sticks with them?

I hope it makes them feel good.

Start Listening To: Weird Nightmare