Nepali-Canadian musician Curtis Waters is in many ways one of the most enigmatic rising stars we've seen recently. His debut album Pity Party was very much an introduction to Waters' musical stylings — his sophomore album, BAD SON, is a more mature, thematically complete project, with elevated songwriting and more exploratory musical choices. While finding his voice on BAD SON, Waters also has an important story to tell.
Waters opens the album with a captivating hyper-pop inspired track called "INNER CHILD." Here, he pays tribute to his parents while declaring his guilt-ridden turmoil about being an inadequate son. The track strikes a delicate balance between emotional depth and bop-worthiness. As we move into "STAR KILLER," we're introduced to a summery pop anthem reminiscent of the early 2000s. Waters quickly juxtaposes this with "GOD'S LONELY MAN," a track that expresses his desire to provide respite to his family through his music career.
"MANIC MAN" steals the spotlight — it's an incredibly fun track infused with a pop punk spirit and complemented by '80s-inspired percussion; Waters' vocal performance is both aggressive and haunting. After a brief interlude in "THEIR HEARTS EXPLODED," "HIMBO" introduces us to Waters' alter ego — a grandiose yet endearing egotist. With a dance tune and humorous lyrics exuding self-assurance, "HIMBO" will become a not-so-guilty pleasure for many.
"PETTY" delivers a hip-hop beat showcasing incisive rap verses from both Waters and TiaCorine. Toward the end, the song introduces acoustic percussion and echoing vocals, adding a transcendental quality to the mix. "BUNNY" follows suit with more textured production and rap verses, serving as the album's love song. The mood takes a sharp turn with "RIOT," an aggressive track featuring chlothegod's intense vocalizations. Starting off with sparse and minimal production, the track crescendos into an electronic dance sequence that immediately compels you to move.
At the album's midpoint we pivot into an increasingly introspective mood showcasing peaceful acoustic guitar strums with "DEATH KEEPS CALLING MY NAME" featuring Shrimp, "PEACE AND QUIET" featuring TINOOO, and "BIRTHDAY" featuring Learning, all of which include the album's best vocal performances.
Waters revisits the central theme of the album in "AMERICAN DREAM" — his regrets about being a bad son. He vividly describes his humble beginnings during his parents' pursuit of the American dream. The track serves as a passionate admission of the struggles faced by many first and second-generation immigrant children as their working-class parents seek a better life outside their home countries.
Curtis Waters can do it all. BAD SON showcases his thoughtful songwriting, effortlessly alternating between high-energy pop hits and deeply personal, introspective tracks. The album holds a diverse range of musical styles, blending elements of hip-hop, house music, pop punk, and more without feeling disjointed or haphazard.
On the penultimate track, Waters says "thank god for the pain," emphasizing the realization that suffering can elevate one's growth, whether that's personal, artistic or otherwise. It encapsulates the album's overarching message of resilience in the face of deep seated trauma and mental health challenges.
Closing the album is the title track, a collection of voice recordings from Waters' family. This poignant inclusion is a testament to the enduring love and connection within his family despite the challenges and complexities explored throughout the album.
In the span of BAD SON, Curtis Waters presents a passionate and raw musical journey, unveiling the multifaceted experiences of immigrant communities. His powerful vocal performances, compelling lyrics, and diverse musical arrangements make this album an engaging, thought-provoking, yet incredibly fun listen. With BAD SON, Curtis Waters has not only crafted a remarkable sophomore album but has also established himself as a unique voice in popular music — one that we frankly need to hear more from.
(BMG)Waters opens the album with a captivating hyper-pop inspired track called "INNER CHILD." Here, he pays tribute to his parents while declaring his guilt-ridden turmoil about being an inadequate son. The track strikes a delicate balance between emotional depth and bop-worthiness. As we move into "STAR KILLER," we're introduced to a summery pop anthem reminiscent of the early 2000s. Waters quickly juxtaposes this with "GOD'S LONELY MAN," a track that expresses his desire to provide respite to his family through his music career.
"MANIC MAN" steals the spotlight — it's an incredibly fun track infused with a pop punk spirit and complemented by '80s-inspired percussion; Waters' vocal performance is both aggressive and haunting. After a brief interlude in "THEIR HEARTS EXPLODED," "HIMBO" introduces us to Waters' alter ego — a grandiose yet endearing egotist. With a dance tune and humorous lyrics exuding self-assurance, "HIMBO" will become a not-so-guilty pleasure for many.
"PETTY" delivers a hip-hop beat showcasing incisive rap verses from both Waters and TiaCorine. Toward the end, the song introduces acoustic percussion and echoing vocals, adding a transcendental quality to the mix. "BUNNY" follows suit with more textured production and rap verses, serving as the album's love song. The mood takes a sharp turn with "RIOT," an aggressive track featuring chlothegod's intense vocalizations. Starting off with sparse and minimal production, the track crescendos into an electronic dance sequence that immediately compels you to move.
At the album's midpoint we pivot into an increasingly introspective mood showcasing peaceful acoustic guitar strums with "DEATH KEEPS CALLING MY NAME" featuring Shrimp, "PEACE AND QUIET" featuring TINOOO, and "BIRTHDAY" featuring Learning, all of which include the album's best vocal performances.
Waters revisits the central theme of the album in "AMERICAN DREAM" — his regrets about being a bad son. He vividly describes his humble beginnings during his parents' pursuit of the American dream. The track serves as a passionate admission of the struggles faced by many first and second-generation immigrant children as their working-class parents seek a better life outside their home countries.
Curtis Waters can do it all. BAD SON showcases his thoughtful songwriting, effortlessly alternating between high-energy pop hits and deeply personal, introspective tracks. The album holds a diverse range of musical styles, blending elements of hip-hop, house music, pop punk, and more without feeling disjointed or haphazard.
On the penultimate track, Waters says "thank god for the pain," emphasizing the realization that suffering can elevate one's growth, whether that's personal, artistic or otherwise. It encapsulates the album's overarching message of resilience in the face of deep seated trauma and mental health challenges.
Closing the album is the title track, a collection of voice recordings from Waters' family. This poignant inclusion is a testament to the enduring love and connection within his family despite the challenges and complexities explored throughout the album.
In the span of BAD SON, Curtis Waters presents a passionate and raw musical journey, unveiling the multifaceted experiences of immigrant communities. His powerful vocal performances, compelling lyrics, and diverse musical arrangements make this album an engaging, thought-provoking, yet incredibly fun listen. With BAD SON, Curtis Waters has not only crafted a remarkable sophomore album but has also established himself as a unique voice in popular music — one that we frankly need to hear more from.
