Dance Away the Pain at “Prom Night”, with Curtis Waters

At first glance, Curtis Waters is a pretty unassuming guy. He is vaguely reminiscent of an 80’s wedding singer, complete with a remarkable sponge of a hairstyle and a glimmering smile, although he is more often seen grimacing. Mr. Waters tends to strike a strange chord in the way he walks and talks, with one foot in classic teenage struggle, and the other planted in a lingering sense of hope and positivity. There is a sort of infectious charm found in this middle path, like that of an old friend. It makes one want to pay close attention to his next move. 

This distinct style is mirrored in the music that Curtis gives us. Each offering brings unbridled honesty and authenticity in his words, slathered on refreshing creativity and playfulness in his arrangements. The nostalgia drenched, 80’s influenced project “Prom Night” is no different. “Prom Night” spans a solid breadth of musical styles, ranging from pure “4-on-the-floor” dance tracks to downtrodden, loping ballads like “Let’s Dance!”. The challenges of a somewhat nomadic upbringing bouncing from state to state give his music an underlying sense of constantly being out of place, despite the efforts to remain positive. It becomes easy to empathize with Curtis, and want to dance away the pain with him.

The opening seconds display a creative and playful nature almost immediately. Deep elastic synths pluck and roll, Curtis does his best impression of lasers/tropical birds, and what sounds like an interdimensional entity welcomes you to Prom 2018. This being lets you know that you will have a great time, but if you don’t enjoy the prom, you should “go fuck yourself, you fucking idiot.” It’s a lot to take in. This sense of humor and light-hearted attitude is trademark Curtis Waters. What ensues is a bouncy pop track, with huge tom rolls and snappy, reverb-gated snares that sound straight from 1985. Eventually it begins devolving into a slowed breakdown rife with vocoder effects and vocal chops, further displaying a willingness to play with any sound he chooses- even his own voice.

“Prom Night” reaches a thematic and sonic climax in the track “Neebu”, where Curtis is at his most morose. This song serves as a welcome change of pace. An introspective sounding arpeggio unfolds as Curtis delivers a sincere monologue dedicating the song to his deceased friend. With one song, it is swiftly proven that although he can be silly and playful with his music, there is a latent ability to create deeply impactful moments. The instrumental woven here is heavily trap influenced, with angelic vocal chops, strings, and glitchy synth bleeps and bloops. Curtis urges listeners; “Tell my mom I’m not doing okay.” Elaborating on the archetypal struggles regarding coming of age, whilst stitching together distinct vocal harmonizations makes for a memorable piece of music.

With each successive track in “Prom Night”, Curtis Waters reaffirms our faith in his originality, flexibility, and sheer talent. Many artists become limited to a particular style or genre, while Curtis seems to take joy from pushing the limits of his ability to work past these boundaries. Put simply, this project is fun. There are surprises to be found around every turn. There are unexpected samples, blatantly hilarious lyrics, and incredibly entertaining skits that lace together the track as a complete story. Feature vocals from the likes of Harm Franklin, Tapper, Chlo, and Mileena are welcome additions. Don’t take my word for it though, listen for yourself.

“Good job, Curtis!”

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