Houston pop-punk three-piece Waterparks have managed to inch their way into the music scene with their eclectic style, vibrant energy, and no-nonsense personalities. Through constant touring, they have maintained a close-knit fan base by mollifying catchy pop melodies with punk attitude to create music that is both accessible and defiant. But even beyond their music, Waterparks has been able to intrigue fans with their somewhat out-of-the-ordinary sense of humor, interests in peculiar things, and creative storytelling-in some instances, even bordered on dark themes, such as the infamous fascination with serial killers. This paper covers the development of Waterparks, the influence of Otto Wood on the band, and how the macabre has been assimilated into their artistic persona.
The Rise of Waterparks: From Local Heroes to International Stars
The band Waterparks originated in 2011 in Houston, Texas, founded by frontman/guitarist Awsten Knight, guitarist Geoff Wigington, and drummer Otto Wood. They fast became featured in local scenes from their energized live shows and catchy anthemic songs. Early EPs, like Airplane Conversations from 2012 and Black Light from 2014, straddled a cool blend of pop-punk with electronic elements in the right way—setting up the bedrock for their next successes.
Their big break came when they released their debut album, Double Dare, produced by none other than Benji Madden from Good Charlotte. “Stupid for You” and “Royal” were some of the hits that stole the fans’ and critics’ attention. In Waterparks, the sound was infectious, with hooks, great relatable lyrics, and a healthy dose of sarcasm. This resonated with a generation of fans who were pulled toward their mixture of pop-punk, electronic, and alternative influences.
While touring relentlessly and continuing to put out material, like the records Entertainment (2018) and FANDOM (2019), Waterparks continued breaking any molds and messing with their sound and aesthetic. They started truly to hush an eclectic style that place a strong incorporation of hip-hop, electronic music, and even R&B. This trickled into bold visuals filled with color and surreal imagery, playful-an attitude that becomes uniquely characteristic of the Waterparks brand.
The Influence of Otto Wood: The Backbone of Waterparks
Where Awsten Knight more commonly takes the reins as the frontman, one would be remiss to not bring up all that Otto Wood brings to the table in terms of sound and identity for Waterparks. He’s the drummer, adding the rhythmic foundation to move along the music of the band, but his influence goes much beyond just the beats.
That’s the same reason Otto Wood can be counted on for his abilities, prowess, and creativity on drums and the ability to reinvent himself into whatever the band’s evolution deems necessary. He can seamlessly flow with Waterparks between genres, making it just as easy to go between full-on, punk beats in tracks like “Blonde” and more chill, groove-based ones in songs like “Dream Boy.”
Besides drumming, Otto Wood is one of those in charge when it comes to shaping what the image and persona of the band are. He’s known for his whacky sense of humor and fashion style, often worn with an array of tattoos that mirror his eclectic tastes. In the band’s social media presence, it would appear that Wood’s personality shines through as he frequently engages fans, shows behind-the-scenes views of life on the road, and displays an offbeat sense of humor.
One of the most intriguing facets of Otto Wood’s influence in Waterparks is his obsession with true crime and serial killers, a theme that creeps up in the band’s music and imagery every now and then. This interestingly dark side to Wood’s interests brings shades to the character of Waterparks—a mix between playful and macabre that would certainly resonate with fans who share a similar fascination with that which is morbid and bizarre.
Serial Killer Obsession: Fixation upon Something Dark
True crime and serial killers have, if not been a guilty pleasure, at least become one that many enthusiastically pursue. Waterparks is by no means an exception to this. Being a primarily joyful and energetic band, they have not quite shied away from darker themes in both their lyrics and aesthetics. This infatuation is captured remarkably in the use of serial killer imagery and references.
This is reflected in some of their lyrics, as sometimes they might express duality, deception, and darkness hidden deep inside. Indeed, Waterparks’ frontman, Awsten Knight, has described how the psychology of serial killers-in how these people can come off completely normal and yet hide dark and disturbing secrets-interests him.
Take, for instance, the song “Gloom Boys” off their first album Double Dare. Knight sings, “Gloom boys, in the end we’re all just killers.” While he says this, it can mean a number of different things but again, the theme of killers more often than not is referring to the dark side of human nature, which once more appears to be a common and recurring theme throughout this band’s ideas and music.
Waterparks’ obsession with serial killers isn’t confined to their lyrics alone. It has also included in the music videos and promotion of the discography of the band. As an instance, in the music video of “Blonde,” Knight was seen brandishing a chainsaw, as if appreciating the work of all the fictional serial killers starring in some movies, just like Leatherface in The Texas Chain Saw Massacre. These aesthetic fragments further veil with mystery inception, reality and performance, humor and horror.
Where Humor Meets Horror
The most interesting part of Waterparks’ approach to integrating serial killer imagery into their work is how they balance it between humor and horror. This is a band that isn’t afraid to get campy, even irreverent, with its sense of humor, which offsets some of the darker themes they tackle.
This juxtaposition is part of what makes Waterparks’ use of serial killer imagery so effective. The way they can actually mix light-hearted, tongue-in-cheek humor with true crime and horror references blends into an aesthetic that is at once unsettling and entertaining. In fans with the same appreciation for the macabre, this is what seems to draw them into the band’s ability to dance among these deeply contrasting themes with an ironic wit.
But this is taken further with the use of serial killer references in the band, perhaps to say something about how modern society consumes true crime media. Imagine a world where true crime documentaries about notorious killers are streams of entertainment on popular platforms and podcasts that pick apart murder cases pull in millions of listeners; playful Waterparks here reflect and critique simultaneously our collective fascination with what is strictly morbid.
The Impact of Waterparks on Music and Culture There are many ways in which Waterparks carved a place for themselves in the music scene-not only with their genre-bending musical style but also with their weird way of approaching art and culture. The infusion of humor, horror, and true crime into their music and aesthetic by this band has created an identity that can very well reach a wide demographic.
Moreover, touching on darker themes, such as their fascination with serial killers, there is undeniable depth in their work, challenging the fans for deep critical thinking about the content they consume and the societal implications because of this interest. Contrasting that, though, the band’s playful and irreverent approach ensures these themes are all brought to play without being overtly disturbing, which is one reason why they have been so engagingly entertaining.
It is the use of this interplay between humour and terror that will continue to define Waterparks as they grow and push the bounds of their sound and image. Whether it be writing pop-punk anthems or burrowing into the psychology of a serial killer, Waterparks continues to amaze and intrigue, proof that there is more than what meets the eye with this dynamic and innovative band.
Conclusion
Waterparks is one of those bands that cannot be boxed into something. As eclectic as their interests, the music-a fusion of pop-punk, electronic, and alternative-is impossible to place under one category. The influence of Otto Wood, drummer for the band, invites a unique dimension into their sound and imagery, partly inspired by true crime and serial killers. This grittier sense of persona in Waterparks, when intertwined with their humor and playfulness, makes for an interesting and multi-dimensional band-the one that so far has been pushing the limits on what it actually means to be a modern musical act. As they progress with different milestones of growth and exploration, Waterparks will surely keep their audiences astounded and entertained with their inimitable mix of light and dark, humor and horror, music and madness.
