Tempo Talks: A Conversation with Krissy Adaluz

THE RELEASE

Krissy Adaluz’s new single, “In the Medium,” is a harrowing labor of love—proof that exorcising personal demons takes time. In a press release, Adaluz cites a range of influences—including Björk and Evanescence—and while traces of those artists echo in the track’s brooding, melancholic sound, “In the Medium” ultimately feels entirely her own. It’s a confident fusion of the grandeur her influences embodied, shaped over eight years and across multiple life stages.

In statements made upon the song’s release, Adaluz suggests that had she shared its earliest version in 2017, it wouldn’t have lived up to her vision—largely due to the technical limitations of her equipment at the time. But given the emotional depth and precision she captures now, it’s tempting to wonder whether the song needed to grow alongside her—refining itself as she refined.

Her stated intent was to paint a portrait of the purgatorial abyss she inhabited as a result of a chaotic childhood. That abyss—the “medium”—is enveloping, a kind of fog she can’t see beyond. “I can’t see nothing ahead / Trapped in the same place / Hollering ‘cause I can’t escape.” It’s easy to imagine the teenage Adaluz, alone in her bedroom, writing that first version in a matter of minutes—fighting for her life through music.

Yet for all the darkness the track confronts, it ultimately achieves catharsis—one that feels earned, the product of years of lived experience. In its final moments, a flicker of defiance breaks through: “Why am I still stuck here?” she asks, a line that lands like an awakening, a quiet reclaiming of autonomy. “No! You won’t beat me this time / I’ll be waiting in the medium,” she declares, daring the darkness to meet her on her own terms.

The production is one of the track’s most striking elements. Droning synths form a heavy foundation, while sharper lines punctuate the mix like splattered paint. A lush string section ties the arrangement together into a unified whole. These layers build toward a dramatic crescendo halfway through—then collapse and morph into something new. The shift feels like a narrative tool, dividing the song into two acts: one of captivity, and one of liberation.

You get the sense that with each iteration, elements were added or stripped away in tandem with Adaluz’s personal growth. The final version bears that out: emotionally raw, richly orchestrated, and fully realized. The song—like the artist—is better for the time it took.

THE INTERVIEW

I know this song was created over  the span of eight years. What changed the most from the song’s first iteration to its last? The lyrics? The production? Or did each element change in equal measure?
  

The lyrics have actually remained the same since the first version. It’s the production that’s gone through major changes—especially in terms of intensity and scale. The earliest version of In the Medium had a quiet, ominous tone, almost like a subtle sense of dread. The final version, though, is much more bold and in-your-face about its presence.

Eight years is a long time. How have you developed as an artist since you first began work on “In the Medium”?


I used to beat myself up for taking so long to finish songs or for feeling nervous about sharing them publicly. Now, I see that time as essential—it’s helped me shape both my sound and my skill. I’ve become more patient with letting the music unfold naturally, instead of forcing it together just to finish something. I even look back at some of my early songs now and think, “Oh boy, that was... something,” haha.

What can listeners expect from your upcoming album, Conflicted?

They’ll hear songs written by a teenager struggling to choose between believing in others or trusting herself to know what’s best. The album explores themes of contemplation, inner conflict, and wondering. My head’s often in the clouds, so there’s a lot of abstraction and metaphor rather than straightforward storytelling. That’s why spatial and atmospheric sounds play such a big role in the music. The 11 tracks were written and completed between 2015 and 2025.

In the press release you shared, you mention how you always knew the grittiness of NYC would be reflected in the final version of “In the Medium”. As one who grew up in the city, are there other characteristics of the iconic city–outside of its darkness and grittiness–that shape your music?  

Absolutely. New York City’s greatest strength is its diversity. You live among people from all walks of life, which helps you stay open-minded and accepting. That exposure extends to music, too. I grew up in a Hispanic neighborhood, so Latin Caribbean music—with its African drum influences and deeply meaningful lyrics—definitely shaped me. I also grew up with R&B and heavy rock, so a lot of my sense of melody and mood comes from there as well.

The production on the track is so lush and vibrant. Can you identify one particular element of the track’s production that stands out as your favorite and why?

The riff in the intro—right before the beat drops—stands out the most. The notes go D, F, A, D, F, D, F, A. It was actually the first sound I created for the song, using a Rhodes piano synth called “Riddim Bass.” It perfectly captured the feeling I was aiming for: dark, electrifying, and eerie. That riff ended up anchoring the rest of the production, and it’s the sound I always hear in my head when I think about In the Medium.

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