Recommended Tracks: “TELL ME WHY,” “GWEN STEFANI,” “ANY MINUTE NOW”
Artists You Might Like: The Wrecks, Knox, Michael Clifford
Three years ago, the genre-defying trio of Waterparks released their fifth studio album, INTELLECTUAL PROPERTY. From the playful pop-punk bangers “FUNERAL GREY” and “SELF-SABOTAGE” to the stripped and sensual “BRAINWASHED” and the angsty rock anthem “REAL SUPER DARK,” the album delivered, both musically and emotionally. Fans loved it, of course, as Waterparks tend to elevate their artistry with each project. There was so much to explore with this album, and each listen only uncovered more and more.
Determined to keep the story going, Waterparks made plans to release a sister album that would tell another side to INTELLECTUAL PROPERTY. So, in 2024, three singles were released from this parallel record. But after Waterparks frontman Awsten Knight announced that this new album was proving to be a draining endeavor, it was scrapped. The group was eager to leave this chapter in the past and put their energy toward a new one, resulting in JINX.
We descend into the world of JINX with “TELL ME WHY.” Here, listeners join Knight as he floats in the ether between life and death. While he is there, he is visited by several creatures who try to guide him through this whimsical fever dream of an afterlife. Fans might recognize the creative forces of Mark Hoppus, Sorry My Love, Eric Nally, and Danny Elfman, who add drama, humor, and suspense to the track. All the while, Knight asks, “If the only point of life is not to die / Can you tell me why?” but he does not receive a definite answer. It’s one of the most ambitious collaborations that Waterparks has released, and it establishes the bold creative direction of this record.
The following three tracks “RED GUITAR,” “IF LYRICS WERE CONFIDENTIAL,” and “PROWLER” have already been released as singles, so listeners should be familiar with their venty vibes. On the contemplative “RED GUITAR,” Knight wonders if he is living his dreams or struggling through a delusion. As he reminisces about the sweet feeling of acquiring “a brand new red guitar,” he also admits, “So hard to remember why I even do this, oh yeah / The delusion / I’ve had since I was 13 / That I could write a song / And they’d put me on a magazine.” His teenage self would be shattered to learn that this cool band fantasy is not as great as once believed, and Knight elaborates further on “IF LYRICS WERE CONFIDENTIAL” and “PROWLER.” On the former, he shares his frustrations with his career, from the problematic fans to the profit-hungry record labels… He has had enough, to the point where he claims, “I’m a singer, not a savior” on the latter.
But of course, love takes some of the edge off. You can even say that it’s “BETTER THAN THERAPY,” which Knight expresses on this punky pop song. His vocals are rhythmic and playful, syncing up with the guitar during the verses. He then sings out in the choruses, giving us sweet and sour lines like, “Even when you panic, I’ll be just as manic” and “Draw you like Titanic / Worship you, Satanic.” It might not be a conventional confession of love, but the same can’t be said about the sultry “NOBODY BUT YOU.” Against the plucky riffs and skittering beats, Knight sings, “I don’t want nobody else but you,” being as sincere and straightforward as can be. This sleek moment is a smooth contrast to “NO NO NO NO NO,” which is backed by sunny guitar lines. Here, the word “no” has never sounded so sweet, as Knight sings, “She said no no no no no / Don’t go away / I want you!” It seems as if desire is the driving force of love, but for love to really mean something, it must also be unconditional.
Take the relationship that Waterparks has with themselves, for instance. The band has had its share of highs and lows, but no matter what happens, they are committed to the ride. On “GWEN STEFANI,” one of the most colorful tracks on the album, Knight sings, “My friends are drunk on saki / I’m sick from this Dasani / It’s freezing in Milwaukee / I’m dressed like Gwen Stefani.” It’s a reflection of the craziness of band life, backed by sinister string riffs and blaring horns. There’s also the acoustic guitar-led “PLAYING MUSIC,” which serves as a love letter to live music. It contains a “can’t keep this feeling a secret” type of energy that builds up and backs down throughout. Still, the track is tender and kind, as Knight sings, “Nothing on a page / Nothing on the stage / Compares to you” and “What would I do / If I ever lost you?” He goes on to serve this “MIRAGE” of band life that seems like destiny on the following track. With resonant vocals, expansive choruses, and piano-led melodies, “MIRAGE” is the climactic scene that puts it all into perspective. It’s also a vulnerable moment, with Knight sharing, “The only thing I can see / Is the mirage / That never goes away.”
As we get into the final moments of JINX, we are treated to the thrashy “TASTES LIKE TANGERINE” and the sentimental “ANY MINUTE NOW.” Found in the layers of “TASTES LIKE TANGERINE” are cosmic ripples, industrial beats, and pitched-out vocals that mean business. Fans of the artsy side of Waterparks’ music will enjoy this one, as they can easily get lost in its many creative elements. And even though “ANY MINUTE NOW” was released last year, it still makes me weep. Unlike “TASTES LIKE TANGERINE,” it’s fragile and desperate. When you become an adult, it can be devastating to find out that life isn’t as organized as you once thought. Knight sings, “And ever since I was a kid / I’d wonder when that moment is / That life would just make sense to me somehow / Any minute now.”
While “ANY MINUTE NOW” would have been a fitting close to JINX, with its twinkly sense of wonder, Waterparks close things out with “GIRLS NEED GUNS.” It is a political choice, as the band is showing where they stand with women’s rights in today’s climate. The track features commentary from Knight’s mom about the abortion laws and the well-being of girls and women, making it more of an analytical piece than a musical one. But In the end, more should be done to protect women, and if there’s one thing about Waterparks that rings true, it’s that they will always speak up instead of back down.
Overall, JINX is an elevated, heightened version of Waterparks. At this point in the game, the band knows what works for them, and they are not afraid to indulge as much as possible. So, they are going to switch up the genres, they’ll layer unusual effects together, they’ll hit you with the specific lyrics—and they’ll give you something you didn’t know you needed. Fans can listen to these songs and think, “This is the ‘BRAINWASHED’ of the album” or “This is the ‘[REBOOT]’ of the album,” but overall, these songs stand out. Waterparks are here to make art. They are here to make a statement. JINX is both, and so much more.
You can listen to JINX here.
To celebrate JINX, Waterparks are hitting up various record stores for in-person signings and meet and greets. Tickets and more info can be found here.
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