Nisa’s “Shapeshifting” Influences Playlist

The NYC-based songwriter shares 10 tracks that helped shape her debut album, which arrives this week via Tender Loving Empire.
Playlist

Nisa’s Shapeshifting Influences Playlist

The NYC-based songwriter shares 10 tracks that helped shape her debut album, which arrives this week via Tender Loving Empire.

Words: Matthew Pywell

Photo: Rhianna Hajduch

April 24, 2024

For Nisa, Shapeshifting represents more than one type of transformation. The NYC-based artist’s debut is a shimmering pop record that takes on multiple forms. Partly channeling the alt-rock energy of some of pop’s most forward-thinking artists such as Caroline Polachek (especially on tracks such as “Currents”), her commitment to building a sound that feels as though it singularly reflects Nisa’s world makes it an engrossing listen. “Vertigo” shows a refreshing lack of structure, balancing softness and an acoustic refrain before finishing as a whirlwind mixture of pop and indie rock. It’s a theme throughout that means you never have a static listening experience. 

Throughout Shapeshifting we hear Nisa wrestle with her sense of identity, presenting us at times with a shattered version of herself. There’s a clear sense of apprehension as she searches for meaning and connection, at times exploring the self-doubt involved with letting people into your life, while at others projecting a clear desire to embrace intimacy. Nisa picks up the pieces along a path of broken sounds, where genres collide together and transform, as we follow her on a journey of self-discovery. Everything is constantly changing and growing, and you get the impression that this process is far from over for the singer. 

With Shapeshifting arriving this Friday via Tender Loving Empire, Nisa shared with us 10 songs that inspired the polymorphing debut, which features touches of these influences dotted throughout. 

Bon Iver, “iMi”
This is one of those songs I keep returning to because I can’t figure out how it was recorded. Beautiful and stirring, it was a major reference for how we recorded vocal layers for the album. It also contains really interesting percussion sequences that blend synthetic and natural sounds. 

Kate Bush, “Watching You Without Me”
I listened to this song everyday for a year, I think. It’s simple and soothing for the most part, but it grows more chaotic and unsettling toward the end, never quite exploding. 

Peter Gabriel, “Games Without Frontiers”
This song feels instrumental to the way that “Dreamspeak” ended up sounding. I liked how robotic and serious the chorus is, while the verses are playful. The whole thing reads like a child’s sing-along, which is ironic given that it’s about war. 

FKA twigs, “Pendulum”
My favorite production on a song maybe ever. She has a singular way of making dissonance sound so very sweet. 

Charli XCX, “Claws”
This song entered my life at the right time, and it’s been an earworm in my life for years (still on every playlist). When we were making the album, we were trying to figure out fun ways to use distortion and vocal transformers on a few tracks. This song was our favorite inspiration for those effects. 

Björk, “Unravel”
Every Björk song feels like a different experience to me, and I listened to a lot of this record while making Shapeshifting. “My heart comes undone / Slowly unravels / In a ball of yarn” is such a striking perspective on how slowly and unceremoniously heartbreak can occur. The instrumentation almost feels like it’s hugging her vocal in reassurance. 

Frou Frou, “Breathe In”
This song became a meditation for me a while ago and I still listen to it to find my balance. I just find Imogen Heap’s vocals to be so self-assured. The guitar and synth layers are joyful and quirky in such an uplifting way. 

Siouxsie and the Banshees, “Kiss Them for Me”
I used to queue this song up whenever I was boarding a flight because it feels like being untethered and carefree. It also encapsulates the Southern Asian influences of UK club music in the 1980s with the production and instrumental breaks. 

Grimes, “Oblivion”
There’s something sinister about the bass on this song—it sounds like a spell being cast. I listened to it a lot in the winter during my longer commutes to and from the studio after work. 

Caroline Polachek, “Door” 
I love Caroline’s vocal sensibilities and the way that this song plays out—like an endless, swirling loop. Lyrically, it’s my favorite track on this album, and I’m floored by the way the sections unfold.