ADRIANNA’s latest single Hallucinations strips her sound back to its rawest form, leaning into the darker edges of techno.
Known for her high-energy releases and performances, ADRIANNA’S latest single pivots towards a minimal, skeletal approach that feels both immediate and unadorned. The track pulses with hypnotic repetition, its framework built from a few key elements: tight, driving percussion and a haunting synth motif that evokes a stark, nocturnal atmosphere.
ADRIANNA debuted Hallucinations during her main stage set at Creamfields this summer, where its stripped-back intensity resonated with the crowd.
2024 has been a productive year for ADRIANNA, with earlier releases like Wild Electric offering a glimpse into this new direction. Her label, Temple Music, has also been pivotal, carving out a space for both her work and other like-minded producers. Releases such as Falling and Got The Night reflect her ongoing exploration of club-focused, stripped-back aesthetics.
Hallucinations continues that trajectory, hinting at a deeper immersion into minimalist, warehouse territory while maintaining the energy that defines her live performances. It’s a subtle but significant shift for an artist constantly refining her sound.
What drew you toward a more minimal, stripped-back sound with „Hallucinations“?
I took inspiration from some of my favorite techno producers and wanted to create a track that embarked on a journey without relying on vocals to tell the story.
The new track has a haunting, atmospheric quality. How do you go about building mood and atmosphere in your music?
Selecting the right sounds is key, using plenty of atmospheric elements and build-ups. The breakdown is longer than I usually make it, but it worked in this arrangement and helped emphasize the tension.
You debuted Hallucinations at Creamfields—how does playing a new, raw track on a main stage like that feel, and what did you take from the crowd’s reaction?
It’s always exciting to play music no one has heard before—it’s one of my favorite things. The reactions I’ve been getting at Creamfields and other events have been really positive.
This year has seen a few releases from you that seem to explore new directions. Do you feel „Hallucinations“ builds on that exploration?
I would agree. I never want to feel like I’m not exploring new directions. As an artist, I want to keep growing and evolving. I try to learn from what I make, the impact it has, and how I feel about it during and after.
Your label, Temple Music, has developed its own character and community. What do you look for in the music you put out through it?
Mostly quality—whether it’s the events or releases, we’ve been so fortunate to work with incredible artists. The energy from the people who come out is always top-tier. I’m very grateful.
The production here feels pared back, relying on subtle elements. Did this approach to sound design change how you worked in the studio?
It did. I always want to keep adding more layers—more vocals, more hats, more synths—but focusing on sound selection rather than overcomplicating the track, as well as removing and reintroducing key elements, keeps it interesting.
A minimal track has to hold its own with fewer elements. What do you focus on to keep that energy alive in your more skeletal productions?
Getting the kick and drums right is the foundation, along with finding the right synths and vocals. For „Hallucinations,“ when it was nearly finished, I decided to increase the tempo by a few BPM. Sometimes, those little changes make a world of difference.
Warehouse-inspired sounds seem to have influenced your recent work. Has this environment played a role in shaping your music lately?
It has. I grew up going to warehouse parties. My experience with that environment, culture, and sound is that people care less about the superficial. They’re there to be in the moment, open to hearing weird and different sounds. People care less about who you are or what you look like when you’re dancing. I love that.
This new direction feels distinct. Do you see it becoming central to your sound, or are you in a more experimental phase?
I’m enjoying where I am right now, but I’m planning to be around for a long time. I never want to feel like I have to stop experimenting.
With both your own music and the releases on Temple Music, where do you see things heading in the coming months?
I have some tracks ready to release that I’ve been playing in my sets, and they’ve been going over well. I’ve also just finished a remix of my track „To Life,“ which will be re-released as part of a feature film soundtrack in the coming months. Lots of exciting things are happening as we plan our Temple Music events and releases for 2025!
Hallucinations is out now on Temple Music
