Shura Straddles the Past and Future on Debut LP ‘Nothing’s Real’

Matt Matasci

Over the last decade, an increasing number of modern artists channeled the sound and aesthetic of the ‘80s. In hindsight, it is a shift that could be seen coming during the previous decade as groups hit it big reinterpreting the danceable post-punk of the late ‘70s and early ‘80s (see: Franz Ferdinand, Interpol, Bloc Party). Slowly but surely, the groups that followed in the wake of that initial ‘80s revival shed the rock elements of their sound in favor of pop-oriented sounds like 808 drum beats and guitar riffs. Suddenly the biggest indie bands in the land had a lot more in common with Duran Duran than Gang of Four. Arriving at (or just after) the music trend’s crescendo is Shura, a British singer whose debut studio full-length is heavily indebted to styles first made popular 30 years ago.  

Despite the fact that she is just now releasing her first LP “Nothing’s Real,” music fans have heard quite a bit from Shura over the years. The first single to be released from the album, “Touch,” was released way back in ‘14. A slow-burning R&B creeper that would fit in well on a playlist with Miguel and Blood Orange, the lyrics lament the sudden shift of a relationship’s dynamics: “There’s a love between us still/But something’s changed and I don’t know why/And all I wanna do is go home with you/But I know I’m out of my mind.” Like most of the music on the album, “Touch” doesn’t reinvent the wheel but it does well to utilize decades-old musical techniques with a modern sheen.

“2Shy” is perhaps the most popular track that Shura has released over the last few years with a structure that is every-so-slightly more pop-oriented than the songs that surround it. It begins on a quiet note, building up sound until the bass guitar slides into the mix and a twinkling synth colors the track. During the verses, Shura’s voice is allowed to take the forefront with nothing but sparse keyboards and a thumping bass drum as accompaniment. Like many of the songs on “Nothing’s Real,” the song’s subject matter touches on the classic theme having feelings for someone but lacking the courage to express it, leaving the love (perhaps unnecessarily) unrequited.  

Recently released single “What’s It Gonna Be” is a stand-out among the other tracks on the first half of the album. Based around a shuffling, fast-paced beat, Shura’s voice is complemented by a staccato guitar and dramatic synthesizer runs in the chorus. Co-written with Greg Kurstin, Maureen McDonald (aka MoZella of Miley Cyrus’ “Wrecking Ball” fame) and Joel Laslett Pott of Athlete, the song is a perfectly calibrated chunk of retro pop composition.    

“White Light” has the kind of dynamic that Twin Shadow was reaching for on his relatively poorly-received album, “Eclipse.” The verse slowly but surely builds up to a climactic chorus with Shura proclaiming “You are a white light/Stepping out of the dark/You are a white light/But you cover it up.” While Shura’s vocals are the star attraction across all of the songs on “Nothing’s Real,” she rarely sounds as powerful as she does on the album’s fourth single.

Incredibly, seven songs have been released from the 13-song album. With some of them dating back several years, in many ways, it seems like this release is as much of a singles collection as it is a true album. Despite gathering most of her output over the last few years into one package, “Nothing’s Real” still feels incredibly cohesive and truly does feel like a singular album. Brilliant synthesizer riffs run throughout the album complemented by a clean guitar that subtly guides the songs through their various passages. While it has been several years in the making and may have just missed the peak popularity of neo-new-wave, “Nothing’s Real” is a promising debut from an artist who should be making waves in the music scene for many years to come.

Shura’s “Nothing’s Real” is available from Apple Music on July 8.