10 Fakten zum ersten Album von Shura:
The title might tell us Nothing’s Real – and all the artwork may suggest a collision between hyper-colourful life and the comic-book fantastical – yet it all seems very real for Shura. The sound might be ’80s, but this is undeniably now, and Shura a new star in 2016’s increasingly bible-black night.
That “Nothing’s Real” is coming out on a major label, Interscope Records, is of some interest, too. I know — major, indie, the distinctions often don’t matter anymore. But here they do. This record’s bouncy beats are a kind of decoy: this specific kind of dance-pop redux tends to be a form of classicism, usually practiced by self-determining artists (like Mr. Hynes of Blood Orange or Ramona Gonzalez of Nite Jewel) with idiosyncratic care, which is to say you hear their small flaws and longueurs as part of the overall aesthetic.
This record is having it both ways. Within fairly limited goals, the details here, including Shura’s finely shaped vocal tracks, approach something like perfection. The record lays out the sound and manners of a little-known aesthetic area: smooth, blithe and introverted.
Previously heard tracks still stand up as pop juggernauts but there’s an obvious growth that has happened during the two-year wait; sonically and lyrically, Shura is at her most urgent and incisive.
The title track proves a highlight: its intergalactic swirls and disco-strut hark back to Janet Jackson’s ‘Velvet Rope’ era, while her short phrasing and ethereal tone screams Madonna. Although it’s easy to slap comparisons across her sound, the voice underpinning it all is peerless. Was ‘Nothing’s Real’ worth the wait? Absolutely.