Only two years have passed since the release of her first single, and it has been only one year since the release of her first and only EP, “The Provocateur.” Now, her hit song “Nicole Kidman” has made it to the #1 spot on the US Spotify Daily Chart.
Adéla released her first album, “PRIMA,” on September 4th. This album included three recently released singles (“KGB,” “Red Bottoms,” and “Ain’t In LA”), all of which were paired with music videos, and a music video for “Nicole Kidman” was released the morning of the album release.
Adéla gained internet popularity after being featured on Pop Star Academy: KATSEYE, a docuseries centering on The Debut: Dream Academy, a talent competition aiming to form a global girl group with K-pop training exercises and challenges. During her time on the show, she was seen as a leader and was well-liked by those in charge, but she was eliminated after the first challenge. The judges on the show said they saw Adéla as a “solo artist.” It was for the best that she was removed from the show because now she is having great success as a solo artist. She is currently on tour for her newest album, and has previously toured for her EP, as well as opening for Demi Lovato’s “It’s Not That Deep” tour in the spring.
“PRIMA” was a highly anticipated release, and I would say that it met the expectations that were set. Adéla’s previous releases were heavily produced, electronic pop pieces, mostly representing her edgy, “provocative” attitude. She comments on various topics such as the exploitative nature of being a girl in entertainment with “Superscar,” internet hate with “MachineGirl,” and her own troubling family history with “Homewrecked.” The expectations for well-produced, fresh pop music that also discusses real topics were set high, and I think she did an amazing job meeting the expectations and keeping the momentum of her career going with her newest release.
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“KGB”
This first single was a great choice for the first track of her first album. Adéla is proud of her Slovakian heritage and frequently references her background throughout her music. This song references the KGB, the “Committee for State Security” in the Soviet Union. Although she uses this as a reference, it is not the purpose of the song, and she makes it clear in her music video that she does not support the actions of this group. The song is clever, with the main line being “call me the KG b*tch.” It is an ode to her haters, as well as a statement on how hard she has worked to get where she is now. With a catchy beat and sassy lyrics, it is a fan favorite song, and certainly one of my favorites. The music feels very 90s Europop/Dance-pop, with unique synth sounds scattered around with fun syncopated rhythms. I love how the bridge pulls back, ending with a line that is only her singing, and then the beat enters again. The ending of the song is my favorite, with high-pitched electronic drums leading the final musical break. It is clever that they sound like guns firing, alluding to the title of the song. She pairs these quick drums with an amazing dance break, featured in the music video as well as in her live performances.
“Nicole Kidman”
Sporting the same name as the famous movie star, this song has also blown up in popularity. It is clear why it did. It is another fan favorite song with an entertaining beat and fun lyrics. It’s another great confidence booster, with lyrics like “I wake up, the world is my buffet.” Adéla references Nicole Kidman in a few lyrics, mentioning the movies Moulin Rouge and Babygirl. “In My Father’s House” by God’s Gospel Angels is sampled as the intro and throughout the song, which is a recognizable sample, but a fun and unique choice for this song. This song is more laid-back and relaxed after “KGB,” but it ramps up in energy at an exciting bridge. The beat is relaxed and so are most of the vocals. I love the bass line hidden in the background of the production. The ending of the song showcases Adéla’s love for vocal layering and harmonies that are heard many times throughout this album. Overall, “Nicole Kidman” is a solid second track and one of my favorites of the album.
“I’m The Man”
An even more relaxed song follows with “I’m The Man,” but it still keeps her clever, humorous lyrics. The song discusses not wanting to submit to anyone and liking to have the power in a relationship. In an instrumental break, she says, “His face is so androgynous / We kinda look alike, I’m kinda into that / Is that weird?” I appreciate the light-hearted nature of the song, as well as the message of a girl being in power, especially in a romantic setting. That being said, this song, especially after following two stronger songs, falls a little weak. I really enjoy bridges in songs and Adéla does them well, but this song does not have one. It is a good placement in the track list though, as it is a more laid-back song that gives listeners some contrast.
“Boys”
The energy immediately picks right back up with one of my favorite tracks on the album, “Boys.” Her 90s/2000s pop influence is clear here, as the song radiates Britney Spears energy with a fun sound and lyrics about being desirable. I love the dialogue added between verses and choruses between Adéla and Lara Raj, one of her close friends and a member of Katseye. There’s also a man’s voice featured throughout the track, seemingly talking to Adéla and Lara. Similar to “I’m The Man,” it adds a humorous touch, which I appreciate. This song also shows more of Adéla’s vocal capabilities that haven’t been shown much in the previous three songs. The beat is fast and fun and pairs well with bold, confident lyrics. I love the dramatic descending synth in the bridge and final chorus.
“Red Bottoms”
“Red Bottoms,” the second single released for this album, takes a turn from the themes of the previous songs. The song refers to luxury Louboutin shoes, and Adéla compares herself to these, saying that if they are worn too many times, they aren’t worth anything anymore. She opens up about her anxiety and how she fears that she will be left if she reveals more about herself (“If I’m not perfect, will you say goodbye?”) She references her childhood and struggles with her dad, a frequent theme she expresses in her songs, with the clever lyric of “Nobody wants dirty shoes / Nobody wants dad issues.” As the first ballad of the album, we’re treated to some of Adéla’s best vocals and lyrical work, but still paired with an entertaining, nicely produced beat.
“Hitachi”
“Red Bottoms” is strong, but I think “Hitachi” is even stronger. She pulls back even more, with less production and fewer instruments. The lyrics express a similar theme of the anxieties of not being wanted anymore, with this song discussing a relationship that is drifting and how she is desperate to find ways to go “back to how it was.” With lots of vocal layering, piano, and strings, this song sports a more traditional ballad sound, and it does it perfectly. The simplicity shifts the focus onto the lyrics and vocals. Adéla shows off even more of her vocal skills throughout the song. Following the bridge, the production unexpectedly changes. Adéla sings the chorus and it sounds entirely raw, without any editing, and it’s even quieter than the rest of the song, sounding like a muffled voice recording. The outro does the same thing. I think that adds perfectly to the vulnerable nature of the song.
“Fantasize”
In my opinion, “Fantasize” is an underrated track on this album. The beat and energy of the song are similar to “Boys,” which is one of my favorites and received a lot of love online. This song hasn’t been receiving as much attention, but I love it and think it deserves more. As the title suggests, this song discusses fantasizing about someone and how it’s “human nature.” The song’s message may be morally questionable, as it focuses on “finding other people strangely attractive,” but that doesn’t change the fact that it is a good song. The pre-chorus is fun, with a whispered line leading into an energetic chorus. The stacked vocal harmonies in the bridge are interesting, and the beginning of the final chorus is great as well. Adéla’s floaty, soprano vocals are highlighted on top of acoustic guitar, which is a fun switch of energy for this song.
“Starving Artist”
Slowing things down a bit but keeping the same energy, “Starving Artist” is a playful song about reconnecting with an ex. Adéla uses comedic lyrics alluding to the ex being poor but still worth seeing, adding another song to her collection of clever, humorous songs. I really love the pre-chorus, as it strips down to a really relaxed beat with her floaty vocals, and then the chorus hits with a big bass drop. At the end of the song, her vocals are pitched down and slowed down, paired with the popular beat of “Hollaback Girl” by Gwen Stefani. I like how clear Adéla makes her references, and she proudly speaks about her inspirations, so including a sample was a fun choice.
“Marijuana”
“Marijuana” may be the shortest track, but it is still a great listen. The intro is creative, as she is speaking to someone over only her own vocal layering. Once the beat comes in, those layers stay under the song, but the vibe of the song is pretty different. The production is great, with a musical sound that complements the title of the song, but I do find this song to be simple. The length does not help, as it leaves less space for Adéla’s great lyricism and vocals. The song discusses being interested in someone, and the main line is “I think I like you like you like marijuana.” An enjoyable track to listen to and dance to, but not a standout when compared to the rest of the album.
“Therapy”
“Therapy” is maybe the most unexpected, unpredictable track of the album. The song is full of very light singing, almost speaking at moments, but heavily autotuned. Adéla lays out all of her worries and complaints. The lyrics aren’t overly creative, but instead just clear statements that feel conversational. I admire her honesty in this song. I am a firm believer that lyrics do not always need to be overly metaphorical or artistic for them to be good. Sometimes simplicity and authenticity are what is best. I also find releasing a song like this on a debut album a brave move, as she makes comments about how hard her career is. Artists, especially women, are often frowned upon for speaking on that topic, and I find it great that she feels comfortable and confident enough to speak out. Musically speaking, the song is simple, and there is not much to discuss or critique. The song is set solely to piano, making it feel even more intimate for the listener.
“Ain’t In LA”
An amazing ending to an amazing album. “Ain’t In LA” was the last single released before the album release, and it saw huge success. Adéla writes about her mom’s upbringing in Slovakia in the first verse, and the chorus speaks about how “the baddest b*tches ain’t in LA.” The song is a love letter to girls all around the world, reminding them that they are special no matter where they are from, with lyrics like “You’re so unique, and your face so pretty / Don’t look like anyone, you’re not just anyone.” The beat of this song is one of my favorites of any Adéla song. Throughout the song, there’s a deep rap verse that is a unique addition to the overall production and vibe. The chorus feels shouty and fun, and in the outro, you hear a group of female voices singing it proudly. It is a feel-good, confidence-boosting, girl-power anthem. It also highlights her love for her family and her upbringing in Slovakia. Even though it was tough growing up in Slovakia, she is proud of her culture and her home. It is a perfect way to wrap up an album, as it is full circle from the “KGB.”
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Overall, this album is incredibly strong, especially for a debut. I believe there’s a little bit for everyone to enjoy, as she discusses various themes and plays with different pop sounds. I’m a big fan of what Adéla has released so far and cannot wait to see what else she does. I hope you check out at least one of these songs, and I hope you enjoy it!
Marissa Rowe
