CS Hellmann’s new single Waves Waves, released on May 8, 2025, is a magnetic blend of shadowy ambiance, introspective grit, and unapologetic guitar mastery. Produced by Jared Corder at the atmospheric Polychrome Ranch studio in East Tennessee, this track plunges deep into the artist’s internal psyche, where subconscious wrestles with conscious desire, and raw emotion becomes sound. The title track, “Waves Waves,” begins with slow, thudding drums that feel like footsteps echoing through a foggy mental battleground. Gritty guitars and a breathy, low-register vocal add a menacing blues-indie flavor reminiscent of Trent Reznor’s brooding industrial tones. It’s hypnotic and haunting, an invitation into a darker, more introspective headspace. The chorus—”waves waves rolling on you, they’re rolling on me”—becomes an eerie mantra, symbolic of inner unrest and unspoken desires.
What sets this release apart is its visceral texture. The guitars were tracked mostly in single takes, giving the song an urgent, organic pulse. A rare mid-song solo slices through the tension like a sonic flare, demanding attention without overindulgence.
“Parallel Universe,” the B-side to this release, contrasts in tone but matches in atmospheric weight. Opening with shimmering tones and deep, breathy vocals, the track feels like floating in a liminal dream-space. Heavy drums ground the ethereal vibe, and the ambient layering pulses with cinematic flair. Hellmann’s voice snakes through the track like smoke—intimate, almost whispering into the listener’s ear.
Hellmann’s sound, inspired by the likes of Arctic Monkeys, Marilyn Manson, and Radiohead, finds its own lane in Waves Waves—fusing industrial alt-rock with bluesy soul and ambient melancholy. There’s a haunted house quality to the production—every echo feels intentional, every note like a message from the undercurrent of the mind.
With upcoming live shows across Nashville—including dates at The Basement and 3rd & Lindsley—CS Hellmann seems poised to pull this raw, moody energy onto the stage.
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Photo credits: Joshua Black Wilkins
Review by: Naomi Joan