Adela’s Prima blends satire and sentiments over hyperpop instrumentals

By Staff Writer Simin Hassan

Hailing from a little-known corner of the world, Adela Jergova, known by her stage name, ADELA, released her debut album, Prima, on September 4. Although Slovakia often goes unsung in the global music scene, ADELA brings it into the spotlight, her nationalistic pride an overarching theme in the project’s lyricism. ADELA delivers an eccentric half hour of camp, revving synth riffs, and unapologetic love for her Slovak roots.

The album kicks off with “KGB,” which uses booming vocals to describe ADELA’s journey to stardom from her childhood in Bratislava. Proclaiming “I’m like a spy, I studied this,” she compares her clever 8-year-old self studying English to a spy for the Soviet KGB. ADELA first entered the music industry through the 2023 reality game show Dream Academy, and was eliminated by a lack of fan votes. She has stated in interviews that she believes her origins in a relatively obscure country gave her a disadvantage, as other contestants had preexisting fanbases and platforms. A bold retort to those who underestimated her, ADELA’s pride for her nationality is displayed throughout the album lyrically, most candidly so in “KGB.”

The album doesn’t just excel at lyricism regarding the singer’s identity; ADELA’s production team outdoes itself in songs such as “I’m the Man,” “Boys,” and “Fantasize,” each one featuring its own distinct, abrasive synth lines reminiscent of hyperpop. They also incorporate an R&B-influenced instrumental in “Nicole Kidman” without sacrificing the original pop-oriented sound. 

ADELA’s individual artistry, on the other hand, shines in her lyricism; through her self-confident, satirical persona, she explores romantic encounters with an emphasis on her own magnetic appeal and sexual freedom rather than male validation. However, ADELA pivots towards darker, heavier melodies in “Red Bottoms.” She compares her imperfections in relationships becoming increasingly apparent to Louboutins whose red bottoms are fading away, singing “You can’t wear me out too many times.” Her raw, anguished vocals layered over the orchestral keyboards convey her apprehension about romance, submerging listeners in her fear of abandonment and being deemed “secondhand” by her partners.

ADELA winds down the project with “Ain’t in LA,” an upbeat yet heartfelt track rejecting the notion that the most successful people reside in LA. Rather, in this vocal-heavy song, she stresses to the audience that “[they] don’t gotta run away” to pursue their dreams — a message especially personal to her, as she immigrated at 18 to compete in Dream Academy.

A departure from a past where ADELA’s Slovak identity alienated her from the global music industry, Prima instead highlights her background, revitalizing it as a source of pride. Despite now being at a higher echelon of fame, she’s unafraid to connect with her roots, uplifting girls around the world who are in the same position she was once in. Prima perfectly encapsulates this message, with riveting, syncopated synth lines and deftly produced pop anthems. The album seamlessly shifts from campy to sentimental, elevating voices worldwide.

Grade: A