Emerging from Houston, TX, Waterparks are a three-piece pop punk band, if you will label them as such. Their debut album "Double Dare" dropped last Friday, the 4th, and if you haven’t heard it already, I suggest you get on that. Here’s a handy list of where you can buy the MP3 version, or if you’re like me, here’s where you can get the physical copy. Or you could always stream it on Spotify. Whatever you chose to do, make sure you get your hands on this album. Personally, I got an album bundle, and I’ve NEVER done that before. This band is going to be a big deal.

For a band only just breaking into the pop-punk world, Waterparks have many achievements under their belt. From writing music with well-established artists/producers in the scene such as Mikey Way, the Madden Brothers, and Courtney Ballard, to playing the 2016 Vans Warped Tour, Waterparks have achieved a lot more than many bands do before even putting out a full-length album.

While one might be tempted to cast them off as another dime-a-dozen “sad boy pop-punk” band, they are so much more than that. Generic is not a word to use when describing Waterparks, believe me: I was one of those people before hearing their first single off "Double Dare", "Stupid For You". Since then, I’ve been hooked. I definitely listen to their "Cluster" EP at least once a day.

Enough about that, though. I’ve decided to do a track-by-track review of "Double Dare", but before I start, I just want to say that I will try to be as unbiased as possible, but I’m really excited for this album (and about Waterparks in general). Also, in a recent interview with Alternative Press, Awsten Knight, vocals and guitar, claimed that he wanted to make music that his little sister and her friends would listen to. I decided to put that to the test, and got my 12-year-old pop fiend of a sister to listen along with me and give me her input.

First things first. Waterparks aren’t shy about incorporating synths into their music - rather, that’s almost what defines them. The first track, "Hawaii (Stay Awake)" starts out with a synth intro, a good taste of the songs to follow. The lyrics are as pop punk as they get, the chorus is long and catchy. All in all, it's a strong, incredibly energetic start to the album, and my sister is nodding approvingly. I'm really excited to hear the rest of it!

It's followed by "Gloom Boys". With indie-esque guitar and bass riffs, "Gloom Boys" is already more instrument driven than "Hawaii". This track almost sounds like a collage, with verses more on the mellow side and dancey choruses that kick in quickly. They aren't afraid of messing around with the vocals, a fact that is evident in the chorus. This track definitely raises the energy levels through the roof, which means if you weren’t already hooked, you definitely are now.

"Stupid For You" comes next, and it also happens to be the song I've been listening to daily since it was released in late August. It was the first single off this album, and I'm still not sick of it. This song is very pop-punk, for lack of a better word, with the isolated cries of "Hey!" opening the chorus and distorted guitars. Waterparks aren't strangers to clever or unusual lyrics, but they’re skillful enough to mix them with a dash of ridiculousness that plays into their seemingly carefree attitude. "Stupid For You" is a song that will most definitely get stuck in your head, and it won't be a bad thing.

"Royal", the next song, was also released as a single beforehand. The verse slows the pace of the album, giving us a much-appreciated break but also filling us with excited anticipation. Once again, the vocals and lyrics play so well together. Personally, I don't get what being royal has to do with the rest of the song, but hey, I'll take it. "Worked myself to death, don't believe me? Ask Geoff" is probably my favorite line... Okay who am I kidding, the whole song is my favorite line. The recurring theme of photography and pictures in the lyrics is just so clever. This band definitely likes slowing things down after the bridge just to bring it back up, harder than before, an element that can be found in multiple songs on this album, including "Royal".

The first thing I thought of when the next song, "Take Her To The Moon", started playing was Katy Perry's "California Gurls". Incredibly synth-heavy, this track sounds nothing like the previous ones, but it's still undeniably a Waterparks song. It’s a song that could be played live, but also be played at a party. It just works. More pop than punk, "Take Her To The Moon" is definitely an interesting track. A song like this would stick out like a sore thumb in any other pop-punk album, but they managed to make it fit in seamlessly - I’m not sure how. The bridge, only containing three lines repeated multiple times, sounds like it was plucked from a Kesha song. I would want someone to sing this to me. It's a sappy love song, for sure, but the synths don't bog you down if you are a lonely soul.

"Made In America" caught me off guard. I don't know what's going on, but I like it. A fast song, complete with synths and distorted guitars, this is the song that will get you off your feet. The bridge, at first stripped down to simply drums, a bit of synth, and vocals, doesn’t slow anything down. Rather, it’ll make you want to chant along to "We expect everything and expect nothing less!" The drop after the bridge is where it does slow down, giving us a moment to catch our breath before breaking out into the last few renditions of the chorus. This song is a reminder that Waterparks deserve their place in the pop-punk scene, although they’ll challenge that place with every song they release.

"Dizzy" follows. Opening with a melancholy guitar riff, the vocals are watered down until the chorus. The line "everything slows down at 24" works with the song: it is a notch slower than the previous ones, after all. The lyrics are heavy and very real, the bridge really allowing the frustration to set in.

"Powerless" starts off slow, rather nostalgic. This song pulls at the heartstrings within the first few lines, with slow verses and hard choruses. I want to say this is an old Simple Plan worthy song, as the bridge really lets go of the angst that was building up during the song. In my draft for this review, I wrote “I feel like I was hit by a truck” beside the name of this song, which is pretty self-explanatory. These three boys aren’t afraid of stripping down and showing us their true emotions through their music instead of hiding behind pretentious or even generic lyrics.

The next track, "Little Violence", lives up to its title. My jaw actually dropped when the verse kicked in. They’re yelling at me. I don't know how I feel about that... I'm kidding. It’s amazing. This song definitely has elements of what is now called classic punk, vocally. Singing about “fake-ass band guys” and calling out AbsolutePunk.net, these boys aren't just angsty, but angry. I’ve said it before and I’ll say it again: there is no doubt that emotion radiates out of every song they put out, and in this case, anger dominates.

"21 Questions" is the next track, and the title made me laugh, reminding me of failed romantic endeavors. This song is accompanied by acoustic guitars, a pleasant change. You can hear the smile on Knight’s face during the first verse, another example of the pure emotion that radiates through their songs. This song is on the sappy side, the lyrics clearly about wanting someone all to oneself. The repetition of "And then what?" can remind one of their first love, or even their most recent one, trying to find our footing when with a new person. The song almost sounds a bit rambly, the way you'd get with someone who'd take your words away - which, after all, is the scenario this song is painting. The build up is beautiful, it had me holding my breath in excitement. Here come the electric guitars, the bass, the drums. Here's the part you'll scream along to in frustration about the lover that just isn't as invested as you are, about the person who doesn't seem to get it.

"It Follows" sounds a little surreal, magical, almost mysterious. A little repetitive, the song has a solid beat to make up for that. The peak of the song, the chorus is a banger, for lack of a better word. Once again, the lyrics seem to come from a very personal place, this time including the obligatory “I hate my town” vibe needed in any pop-punk album.

"Plum Island" intrigued me from the beginning, both due to the title and synth/drum intro. This song is cheeky, sarcastic, and self-deprecating as hell. Some of the first lines, “I can't wait for the complaints / about cut vocals and pop” warns listeners about what the chorus is going to bring. The energy present since the very first song still hasn’t left; rather, it has been amplified throughout the progression of the album, and "Plum Island" is serving up a huge dose of it.

"I'll Always Be Around", the closing track, is a good fit. Synths, guitars, repeated lines, it's nothing short of a Waterparks song. It's a little painful, a little nostalgic, it leaves you wanting more. The vocals almost sound distant, further driving the sense of nostalgia so present in this track. I just got this CD today, and this song is already making me want another Waterparks album. The album passed my little sister’s test as well, as she turned to me while this track ended and announced, “I’d totally listen to them on my own.”

In all seriousness, "Double Dare" has the potential to change what can be defined as pop-punk. It isn't not pop-punk, with the angst-filled lyrics and long choruses, but it's... It's not cookie-cutter. Rather, Waterparks are forming their own mold slowly, and I'm really excited to hear the other bands that will inevitably follow in their footsteps. "Double Dare" has one foot on the path left by previous EPs and another foot in completely new land. Waterparks have become more confident with their experimental, unusual sound, and will only continue to grow after this. If you pardon the pun, Waterparks are going to make a splash with this album.

It's not a secret that Waterparks have never been afraid to play with their sound. Think Kesha meets Forever The Sickest Kids, but even that comparison doesn’t live up to the true patchwork effect this album has to offer. There is no song that stands out the most, that gives the overall vibe of the album. This is an album - hell, a band - that cannot be generalised. Or ignored.

Waterparks are well on their way of making a whole new subgenre, electropop meets angsty punk. Who says those two can’t live together? Otto, Awsten and Geoff are revolutionising what pop punk can be, little by little.