A dreamy, hazy intro is the first thing you get from our newest pop princess Shura’s debut album. Scraps of dialogue from Shura’s father and what sounds like a rocket blasting off in the distance tune in and out like a fuzzy radio. As “(i)” fades, it’s replaced by the album’s title track. Nothing’s Real shifts from ’80s homage in songs like “What’s It Gonna Be” to near imitation in “Nothing’s Real”. Shura uses this album to take on a presence like those of the early ’80s queens, each track presenting a girlish, almost naively feminine voice.
The defining measure of the album is Shura’s introversion. In songs like “2Shy”, Shura channels the spirit of Molly Ringwald in 16 Candles, right before Michael Schoeffling is about to kiss her over the cake. Shura is hesitant, whispering over a powdery synthetic build about her desire — maybe? — for a sort of relationship with this person she might just like.
Despite this uncertainty, Shura doesn’t stray from being articulate in “2Shy”. Each note is perfectly in place, never straying from the heartbeat of the song. She might be murmuring, caressing the lyrics, but the phrasing is too deliberate to ignore: Headphones on, got a cigarette rolled, I know / I shouldn’t light it ‘cause I haven’t had one for weeks.
Shura’s shy and sweet, but she’s also deliberate and aware of everything happening around her. It’s this deliberation that drives her individuality and really matches her to the early ’80s greats. “Nothing’s Real” shows off her power more so than any other track off the album. Instead of the soft thrum of a heartbeat, the album’s title track epitomizes the throb of restlessness, ticking through the dragging hours of dissociation and panic. There’s nothing soft or playful about “Nothing’s Real,” though the hesitation and uncertainty remains
Other songs are harder to categorize. “What’s It Gonna Be”, a track with a video you should have already fallen in love with, balances indecision (incidentally, the name of another song off the album) with a defined, upbeat assuredness. Nothing’s Real is all about going boldly forward into the unknown, and suddenly the sounds of the rocket in “(i)” make a lot more sense.
I’d be remiss if I didn’t mention the final two tracks off Nothing Is Real. Each over nine minutes long, “White Light” and “The Space Tapes” feel unfinished and uncensored. “The Space Tapes” relies on instrumentation and has the vibe of an R&B song, so much so as to be tonally distinct from the rest of the album. Both pieces include slow fades to silence, only to pick back up again with an entirely new theme. It’s almost as if Shura were piecing together a few incomplete bits of her brain, unsure what to do with them — so she just stuck them to the end of the album. “White Light” and “The Space Tapes” share a refreshing distinction from the power and precision of the rest of the album, and they add yet another layer of humanity to Nothing’s Real.
Shura’s debut album didn’t strike a chord with me because her music sounds exactly like the theme to a John Hughes movie. It didn’t strike a chord because she’s a British pop princess, or because she made a cute LGBT music video (although that certainly didn’t hurt). It resonated with me because Shura leans heavily into teasing out different aspects of what we, the audience, are led to believe make her a person with doubts and fears. Making music in itself is a scary thing, but deliberately making your art reflect a deep, true part of yourself is even scarier. So here Shura goes, boldly forward into the unknown.
Carson is a 23-year-old who discovered the joys of the Backstreet Boys two years ago, when she fell down a pink fur-lined rabbit hole into the world of pop. She has since taken it upon herself to make an exodus into the underbelly of the glitter-covered beast. You can find her Spotify account here and you can also find her on Tumblr.