JINX is Waterparks at Their Most Unpredictable Yet

Every time I think I’ve figured out Waterparks, they do something completely different.

That’s what makes listening to a new Waterparks release so exciting. Whether it’s the neon chaos of FANDOM, the glossy experimentation of Greatest Hits, or the darker edges of INTELLECTUAL PROPERTY, the band has never been interested in staying in one place for too long. With JINX, they push that idea even further, creating an album that jumps between genres, emotions, and influences while somehow remaining unmistakably Waterparks.

The result is one of the band’s most ambitious projects to date.

The album opens with “TELL ME WHY,” a song that immediately caught me off guard. There’s something almost theatrical about it, from the dramatic melodies to the way Awsten Knight delivers every line with complete conviction. It feels larger than life, almost like a show tune filtered through the band’s signature pop-rock lens. It’s an unexpected start, but one that perfectly introduces the album’s willingness to take risks.

That experimentation continues with “NOBODY BUT YOU,” which might be one of the most surprising songs Waterparks have ever released. It’s romantic, vulnerable, and undeniably pop-forward. There are moments that remind me of the kind of sincerity found in artists like Zayn Malik (think 2026’s version of “I Don’t Wanna Live Forever”, but the song never feels derivative. Instead, it feels like Waterparks discovering a new side of themselves. It’s softer than fans may expect, but no less effective.

One of the most anticipated tracks on the album is undoubtedly “GWEN STEFANI.” After years of snippets, Instagram Live recordings, and fans piecing together low-quality clips online, hearing the song in its finished form feels incredibly rewarding. The final version isn’t exactly what many people expected, but that’s part of what makes it so good. Rather than simply delivering what fans already knew, Waterparks transformed it into something bigger, brighter, and more fully realized. It’s the kind of payoff that makes the wait worth it.

On the opposite end of the spectrum is “NO NO NO NO NO,” which stands as one of the strongest love songs in the band’s catalog. It doesn’t rely on grand gestures or over-the-top production to make its point. Instead, it succeeds because of its sincerity. There’s a warmth to the track that makes it feel instantly comforting, offering one of the album’s sweetest moments.

If I had to pick a song that best represents what makes JINX special, it would probably be “PLAYING MUSIC.” Every aspect of the track feels meticulously crafted. The production is layered with small details that reveal themselves with each listen, while the lyricism remains sharp, self-aware, and emotionally engaging. It’s one of those songs that somehow gets better every time it comes on.

Then there’s “MIRAGE,” a song that feels almost visual in the way it unfolds. The pacing, the movement, and the atmosphere all create something that feels larger than just a recording. I kept finding myself imagining it performed live, with dramatic visuals and some sort of orchestrated, overdramaticized movement. It has a natural momentum that makes it feel constantly in motion.

Perhaps the album’s biggest genre experiment arrives with “TASTES LIKE TANGERINE.” On paper, blending nu-metal influences with hyperpop production sounds like a combination that shouldn’t work. Somehow, Waterparks make it feel completely natural. The song is aggressive, chaotic, and addictive all at once. It’s one of the boldest moments on the album and a perfect example of the band’s refusal to play it safe.

The track that hit me hardest, however, was “GIRLS NEED GUNS.”

Nothing could have prepared me for the emotional impact of this song. From the first listen, it completely stopped me in my tracks. Waterparks have never shied away from difficult topics, but this feels different. The song carries an urgency that makes it impossible to ignore. It’s powerful without feeling preachy, emotional without feeling manipulative, and timely without sacrificing its artistic identity.

More than anything, it feels important.

The kind of song that leaves you wondering how to get it into the hands of everyone who needs to hear it.

That’s ultimately what makes JINX such a compelling record. Every song feels like it’s reaching for something different. One moment you’re listening to theatrical pop, the next you’re hearing hyperpop-infused chaos, and then suddenly you’re confronted with some of the most emotionally impactful writing of Waterparks’ career.

On paper, it shouldn’t work.

But Waterparks have built an entire career on making the unexpected feel natural.

JINX isn’t interested in recreating the past. It doesn’t sound like FANDOM. It doesn’t sound like Greatest Hits. It doesn’t sound like INTELLECTUAL PROPERTY. Instead, it carves out its own identity, one built on experimentation, confidence, and a willingness to take creative risks.

And somehow, after all these years, Waterparks still manage to surprise me.

That’s their greatest trick of all.

You can find JINX out now on all platforms.

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