CS Hellmann's "You Caught Me At A Bad Time" Hits Hard with Powerful New Release and Insightful Interview
- STAFF
- Sep 22
- 10 min read
By: Staff
“You Caught Me At A Bad Time” delivers an electrifying blend of raw emotion and intricate sound.
CS Hellmann has just dropped a track that will grab you by the soul and not let go. "You Caught Me At A Bad Time" isn’t just a song; it’s an experience, a moment frozen in time where raw emotion meets intricate, genre-blending soundscapes. With a powerful fusion of gritty indie tones and hauntingly beautiful vocals, Hellmann brings listeners into a storm of vulnerability and complexity that’s both deeply personal and universally relatable.
We spoke with the artist about the forces driving this release, which feels like both a catharsis and a revelation. Hellmann took us inside the creation of the track, revealing how an ordinary, frustrating moment with his fiancée escalated into a song that captures the chaos and emotional volatility of relationships. It’s a powerful example of how small moments can explode into something much bigger, something that resonates on a deeper level. But what makes this song stand out isn’t just its emotional weight; it’s also the sound. Recorded in the secluded beauty of Polychrome Ranch, Hellmann’s new single reflects an intricate arrangement, blending raw falsetto, layered melodies, and unexpected musical elements that defy easy categorization.
As we spoke about his evolving creative process and the significance of his long-time collaboration with producer Jared Corder, it was clear that Hellmann’s journey has been one of transformation. Whether experimenting with vintage gear or channeling the quiet of the Tennessee countryside into his music, Hellmann has found a new space to push boundaries and experiment with sound in a way that feels both fresh and personal.
Dive into our full interview below to get the story behind the song, and discover the thoughts, risks, and inspirations that brought “You Caught Me At A Bad Time” to life. You won’t want to miss it.
Here’s how it went:
Begin Interview:
Hello CS Hellmann, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more intrigued to get a deeper look into both your brand and your personal and professional inspirations.
Q. We’re huge fans of your work, and it’s no secret. But this song feels like a whole new level. The harrowing center mixed vocals that float dynamically within the drums hit us in a powerful way. Your tone is so raw and real; it pulled us into the heart of the song. The musical arrangement felt like it was taking over our thoughts, and we were almost floating within its boundaries. This track is stunning! What we’re curious about is: How did your musical journey begin? Was it something that built slowly over time, or did it all kind of click all at once?
A.Thanks! I really appreciate that! My musical journey as an artist was a very slow build. I didn’t really start to find my voice until my early 30’s - I sort of took a break musically for several years between when I was in a touring band based out of Chicago playing guitar in my early 20’s until I found my voice so to speak as a songwriter and artist.
I was burned out from the grind of trying to make it as a band and felt like the authenticity of what made us a great band started wearing off by trying to accommodate our sound to labels and management. I was also trying to come to terms with my mom’s progression of Parkinson’s disease and dementia. It really hit me hard, and I wanted to take a break from music to be closer to my mom and family. When I moved back to Cincinnati from Chicago I really started pouring a lot of effort into my songwriting - albeit it was a work in progress. I did some recording sessions with my friend Chris from Chicago who moved to his hometown in St. Louis which really kickstarted what my sound is like today - we experimented with a lot of dreamy guitar tones and synthesizers - something that wasn’t a major factor in my Chicago band’s sound - we were mostly a straight ahead no frills rock band with guitar, bass, and drums. For the first time I was experimenting with a wide array of sonic landscapes and driving my sound into a more Indie realm as opposed to a Pop/Rock sound. I never really considered myself a singer but found my voice in a softer more intimate tone like Jeff Tweedy, Matt Berninger of The National and M. Ward.
Q. "You Caught Me At A Bad Time" feels incredibly raw but also entirely relatable. What would you say is the emotional core of the song, and what specific moment or people inspired it?
A. I think what I was trying to express with this song is the grey area we sometimes live in with relationships with our spouse and the subtle nuances that can define whether that relationship is living in harmony or if there is some disconnect or resentment that has slowly built up over time. “It started with a stupid lie” is in reference to an electric razor I had that my fiance had accidentally knocked off the niche in our shower and broke the blade of it. I asked her about it and she acted like she didn’t know what I was talking about. Whether she didn’t want me to be upset at her or what the reason was it kind of annoyed me. We ended up getting in an argument about something else later on that evening and the next day, and I sort of had to reflect in the moment like “why the hell are we mad at each other about this now?” I had a line in my notebooks when I was sketching out this song of “you caught me at a bad time”, and that sort of seemed like a perfect way to sum everything up. I’m not truly mad at you, but you annoyed me enough to have an argument.
Q. You’ve said there’s a lot of complexity beneath the surface of this track. Which part of the arrangement do you think might surprise listeners the most or catch them off guard?
A. In my music I tend to change time signatures without really trying to do it - it tends to just be the way I write the song on an acoustic guitar that feels natural. Each chorus in the song has a slightly different structure with time signature changes in different spots but it goes back and forth between 4/4 and 6/4. The prominent bass riff that you hear through the verses replaced a different chord structure that I originally wrote the song with, and it was interesting to hear the melodic idea intertwine with the driving bass line and syncopated drums in the studio - it really became a feature point of the song.
Q. Your sound combines so many different genres. Does shifting from one genre to another feel like changing the setting for the same story, allowing you to tell it from different perspectives?
A. Not really - it’s not something that I really even think about when I’m writing. The majority of my songs just start with me and an acoustic guitar, and I tend to take the songs in whatever feels the most natural to me. Without a doubt, the sound develops from music I’m either currently listening to or music that has been ingrained in me from a younger version of me - it’s kind of become a melting pot of musical styles and genres. I guess that really just stems from my love of all types of music.
Q. Do you find that your most vulnerable experiences often lead to your strongest songs? When you write, do you prefer to share your deepest feelings openly, or do you keep certain aspects of your story more veiled and let the listener interpret it in their own way?
A. That’s a tricky question because yes, I do feel like my life experiences that carry a lot of emotional weight tend to lead me to writing a song, and I enjoy the cathartic experience of letting those emotions flow freely. I have to sometimes rein in that emotional weight though to give the song more clarity and not feel like I’m being self-indulgent. I also don’t want to spell everything out so literally - I do want the listener to have their own take on the song, and they can come to a completely different conclusion than I did when I wrote it. There are other songs I’ve written that lyrically are a bit more abstract, and I really had no idea what the song meant until I finished it - I just knew that it felt finished.
Q. Jared Corder seems to be a central figure in your creative process. After years of working together, what’s the most valuable lesson you’ve learned from each other during your sessions at Polychrome Ranch?
A. Jared really brings a lot of interesting and creative ideas to our recordings. He has a stronger background than me in musical composition, so he’s able to take my rough acoustic demo and really add some clarity and shape to the sound. He’s always dabbling in new gear and instruments, so it always makes each recording session fresh and exciting.
Q. Polychrome Ranch holds a lot of significance for you. How does the rural atmosphere of the studio influence your creativity? Do ideas flow naturally there, or does it offer a space for more gradual reflection and thought?
A. I live in a more rural/country area outside of Nashville as well, so it really feels like home being around nature and immersing my creative abilities in that kind of setting. I really grew tired of the city life - it always felt like an invisible weight and stress on my shoulders that really affected my ability to be in unison with my soul and true being. I enjoy having that peace and quiet around me just listening to the birds sing and collecting my thoughts.
Q. You chose the ’70s/’80s Peavey bass head for this track. How did you know it was the right fit, and what unexpected elements did it bring to the sound that surprised you during the recording process?
A. It was one of those pieces of gear that really found me - I wasn’t necessarily looking for that particular bass head - I was trying to find a bass amp for my bass player to use at my house for rehearsals and stumbled up on the bass head and bass cabinet on Facebook Marketplace for a really good deal. I honestly didn’t know what to expect on what it would sound like until I brought it into the studio. I didn’t even try to plug it in until I got to Polychrome. Jared & I were really blown away with the tone and sound especially with the addition of the spring reverb built into the bass head. We got this really cool Joy Division Post-Punk bass vibe out of it. We even tracked some of the guitars through it as well. It really ended up being the right piece of gear for that song.
Q. We know live shows fuel you. What’s the one thing about this new track that you're most excited to bring to the stage, and how do you make sure it feels fresh and alive every single night?
A. I really enjoy the dynamics of the song and the energy of playing it live. It’s a much harder song to play live than you would think - we rehearsed the song probably for a month before we felt comfortable enough attempting to play it live. But when all the sections are hitting and it feels tight it’s a really exhilarating song to perform live, and really makes a nice closing song to a set.
Q. It’s clear you pushed yourself creatively with this song. What would you say was the biggest risk you took during its production, and why do you think it paid off so well?
A. I never shy away from taking chances on any of my recordings - I try to channel something new & different for each recording, trying to improve upon the previous song I recorded.
Probably the biggest chance I took on this song is really harnessing my higher range of vocals which is a bit outside of what I normally do in my music - I usually stay in a lower more baritone and brooding style of voice. We got a really cool Eric Carmen of The Raspberries Power Pop vibe in the choruses and bridge which added a lot of lift and complimented the soaring guitar lines in the choruses.
Q. Could you describe the current atmosphere of Nashville's indie scene? Is it still thriving as a creative community, and where are your go-to spots for connecting with other artists outside of the studio?
A. One of the things I’ve enjoyed about playing out live lately is being able to connect with the local indie scene and local artists. All of the shows I’ve played at Joelton Hardware, The Basement, The Underdog, and 3rd & Lindsley I got to experience such a diverse group of bands and musicians and have been able to link up with these bands for other shows. Living more in the country I don’t get out as frequently to go to shows, so when I get to play out and hang with great musicians there’s always something to learn from them on how they perform live to the type of gear they use - it makes you a better musician and performer.
Q. Outside of music, who or what has had the most significant impact on your personal growth or artistic perspective?
A. My fiance (soon to be wife) Rebecca has been super supportive of my passion for writing and recording my music. I’ve always been a bit self conscious of performing or sharing my music, but she has been very encouraging and has been to every one of my shows to show her support. It really means a lot to me to have someone so invested in what I love to do.
Q. Looking back on your journey as an artist, was there a specific moment when you knew for sure that this path—this kind of music, this kind of career—was your true calling? Or do you feel like it’s been a series of moments that led you to this point?
A. Dealing with the decline in my mother’s health and eventual passing really lit a fire inside of me to not take for granted the time we have on Earth and to pursue what I love to do with my full energy and passion. It allowed me to overcome the people in my life that doubted my abilities to be an artist and songwriter and allowed me to progressively grow into the artist I am today that’s full of confidence and drive.
CS Hellmann, thank you so much, we appreciate you taking the time to talk to us!
End Interview
We’re happy to have shared CS Hellmann’s exciting journey with you and uncovered such inspiring insights about their creative process.
