Tha Boy Myles’ Mylestone Is A Collection Of Perfectly Distilled Afro-Fusion

Something about the clever puns and sweet melodies of Tha Boy Myles’ December-released slow-burner Boma intimated that the Lagos-based musician was a talent to watch out for. Deftly melding diverse languages and tempos across cultural divisions, Tha Boy Myles, has shown that he has an affinity for music inspired by lust and the resultant emotions they can cast over people. With the success of Boma already accelerating him to higher plans, Myles has concocted a plan to make himself the grand patron of lovemaking his Mylestone, a showcase on love and all it can inspire.

[youtube https://www.youtube.com/watch?v=klBdkmV7VC0]

Despite its narrative constraint, Mylestone is flowing with experimental sounds. There’s ‘ballad-y afrobeats’, trap-driven afrobeat, and staggered alt-pop all interpolated with traditional Yoruba references across the six tracks that form Myles’ thesis on love.

Nowhere is his experimentation in focus than on Shima, the EP’s third single that has some of the warmest singing. On Shima, Myles softly leans into the pathos to showcase his affection for his love interest. The half-spaces of Ozedikus’ production add a way bounce to Wambi, the EP’s opener that crystallizes Myles’ intent before an effortless transition into Bop Love, a reflection of his awareness and loyalty. Everywhere you turn across Mylestone, its creator is not shy to express how he feels in sync with euphoric production that accentuates his natural range.

On this EP, Myles more than comes into his own, he casually struts across the project run-time, making whispery coos and would-be anthems that bear the mark of perfectly distilled afro-fusion.