Adéla’s Album “PRIMA” Introduces a New Sound to Pop Music
via @adelajergova on Instagram
Adéla has come a long way since Netflix’s Pop Star Academy: KATSEYE. Highlighted as one of the first eliminated and shyly singing her own music in front of a small crowd at an open mic night, that girl could only dream of the crowds and festivals she would play for. Her singles, “KGB,” “Red Bottom Heels,” and “Ain’t In LA," built up enough anticipation for her debut album, PRIMA, released on September 4.
PRIMA explores a much more experimental side of the pop music heard on the radio today. The pop hooks are there more than they were on her first EP, The Provocateur, but they’re not as obvious as other songs. The 22-year-old Slovakian native has been entering the charts and becoming a known name.
This album tells the story of Adéla, where she’s come from and where she’s going. The studying and work she put in to make it America all the way through the realization that there are bad bitches all around her who aren’t from LA.
“KGB” is the first song from PRIMA. The punchy pop song is catchy if nothing else. The song is meant to be played at a club with a dance break, and I am pleased with the innovation of the title. It makes you learn a little bit of history if you didn't already know what she was referencing.
via @adelajergova on Instagram
One of the best songs off her album is “Nicole Kidman.” I’ve always thought it’s genius to name a song after a celebrity because if someone looks up their name, the song will pop up (other examples include “Tim McGraw” by Taylor Swift and “Dua Lipa” by Jack Harlow). Not only that, but this song is lyrically experimental and witty in a way some of her other songs lack.
There are moments where PRIMA loses a bit of momentum. Usually, I love a good break-up song, but there’s something about “Hitachi” that doesn’t quite hit the mark for me. It’s a bit forgettable, but this is her debut album, so not everything can be a hit. The tongue and cheek of the title fit her overall vibe, but there are other examples of the more racy side of her that do a better job. It’s the same with “Starving Artist,” which sounds a bit too much like every other pop artist and not the Adéla from the beginning of the album.
Another highlight is “Marijuana.” That song manages to pull me back into the world Adéla is building after the few misses before it. Despite a more simplistic rhyming scheme like “Playin' Nirvana, ride you in your Honda, I like how you look at me like I'm the next Madonna,” there’s something about it that works for her. She keeps her attitude and personality in the rhyme, which is where she shines.
Adéla calls on her Pop Star Academy friend and current Katseye member, Lara Raj, for “Boys.” The two are heard throughout the song chatting in the girl’s bathroom and debriefing the night. This is also up there as a favorite for me. It perfectly captures a night out with the girls and the inevitable “girl talk.”
What will likely be her biggest hit for the time being is the album closer, “Ain’t In LA.” Adéla uses color to her advantage in the same way that Charli XCX did. If I say “Brat green," people will know what I’m talking about. Adéla’s color is hot pink. From her hair to the album art, hot pink has taken over her entire persona, and I’m not complaining.
In addition to singing, Adéla is also a talented dancer. Many of her songs are built with her dancing skills in mind, and you can almost hear where she’d plan to do a dance break when these songs are performed live.
This being her first album, Adéla is set up well to continue on an upward trajectory. As long as she continues to remember who she is, there’s much more room to grow.
