Africa's new sound comes from a man with a silk voice accompanied by a Fulani hat and a mellow drumline. The duality in his music is both isolated and inclusive. From the streets to the club. From Accra to Lagos. From Africa to the world.

Mr. Eazi, the Nigerian-born, Ghana and UK-raised musician, signed to Wizkid's Starboy World Wide label, has cemented himself as a global influencing rising-star since his emergence in 2013. But recent hits like 'Legover' and 'Skintight' have not only earned him notoriety on the Afrobeat scene but worldwide.

He's certainly one of the reasons why songs like Major Lazer's Partynextdoor-featured 'Run Up' can dominate the mainstream radio stations and Canadian artists like Big Lean have teamed up with the hitmaker to take part in the contagious wave. But Mr. Eazi isn't worried about those capitalizing on his diasporic sound. Because his forthcoming mixtape Accra to Lagos tells a story too thorough to duplicate.

In a year where you're guaranteed to be dropping all this new music, what was the mentality and motive heading into 2017 for you?

For me, I felt like it was Africa first for the first half of the year. That was my new year's resolution.

And you're doing that by releasing your new mixtape Accra to Lagos on February 11. What does that body of work represent for you personally and the stories you want to share with your music?

It represents saying that my music started out in Accra and right now, it's a bit crazy and madness in Lagos before I release Accra to the World, which is the next tape. So, it shows the movement of my music now. This tape is basically representing the move of my sound. The way my music was going and when and where it first got accepted among the African diaspora back home, I was travelling a lot, and I realised the music that I was making was diluted, so I said let and me make concentrated African music that represents Accra on one side and Lagos on the other side. And put out music for my people in both Accra and Lagos.

So we'll be following your physical journey. And that will lead us to your Life of Eazi album?

Right now, what will follow is Life is Eazi - Kotoka to the World. Kotoka is the airport in Accra. And that was the first place I went to take my first trip out of Africa. So that tape represents musical influences from across the world. So there should be two mixtapes before the album.

When it comes to the new project we'll be hearing this month. Where was it recorded and how did that influence your recording?

Most of the work on the tape was made in Lagos. This is how I create. I get a vibe, and I record a demo. And then I shop around for producers who will bring that to life. And in this case, most of the songs from the Accra side of the tape, the first five songs, were born in Accra or Kumasi. Basically, I got the ideas for the records while in Ghana, but the majority of the production was done in Lagos. That side of the tape, the influence came from the club and the streets. The majority of the sounds were finalised between Lagos and London, so I never met the producer until the records were finished.

And 'Legover' will be on the new tape. It's been such a huge track for you. Tell me about the writing process behind that song and the success from it.

I don't really like going to the clubs, but I had to start going to the clubs obviously because I wanted to make a tape that represented Lagos and get to know the club life. So at the time, I was recording, most of the songs I would hear in the clubs were produced by E-Kelly. I was trying to reach out to him and I found out he was also trying to reach out to me. And one day we met, and we headed to the studio. I spent about 30 minutes in the studio and then together, we created 'Legover.' I have this record, one of my biggest records is 'Hollup,' about a girl who I was trying to reach but she wasn't getting back to me because she was Instagram famous. And 'Legover' was supposed to be an advancement of that sound. So I had that song, and it was never supposed to be on that tape, however, it leaked. But thank god it leaked, because I saw an immediate response and we dropped it then. Three days after the song, I already started performing it at gigs. It's a singalong.

I'm from Toronto and one of our big up-and-comers Big Lean did a remix to that track. What are your thoughts of the reach of that song and sound now?

Big Lean is my friend. He's on my FaceTime, and I came across him from an OVO playlist on Apple Music. But to answer your question, the way the sound is going, it's headed to Africa. It's been on the Caribbean for a long time and I feel like the more artists from other cultures play with my sound, it opens a new door for the sound. I'm not one of them ones that feel like, oh, he's jacking my sound. I listened to some records the other day. It was Diplo and Partynextdoor. I listened to it, and on the drumline, it was that core African sound. Even in Nigeria, it's that new, mellow, groovy drum patterns and I feel like that's how it should be. Because at the end of the day, it just shows how strong the influence of the sound is and it will do more positive than negative. Big Lean fans may have never listened to Mr. Eazi, but now they may. I want to see more of that so by the time I'm ready to drop the album, I'll have the worldwide perspective on the sound.

And do you see yourself collaborating with many different types of artists in the future?

Most definitely. With Big Lean, we've been back and forth three records. But with others, more in the future. God willing. But for now, the focus is Africa.

Accra to Lagos is out February 11.