It's tempting to describe Nafets as a rising star and be done with it, to let his tranquil melodies and poignant lyricism do my job for me. But this would sideline the complexities within his music and himself - the cultural displacement between his joint homelands of the US and Trinidad which informs the bridges and contradictions inherent to his tracks - not to mention the contrast between his indie-pop fandom and his studious metal background and Clint Mansell tattoo. Behind the sunny disposition is a trenchant voice concerned with how geographical and nationalistic identities distort our interior selfhoods; he's a rapper cataloguing breezy Summer jams imbued with original and articulate social commentary. In more eloquent detail, here's what he had to say.

What’s struck me most in listening to your releases so far is your vocal style, it’s quite distinctive. I’m curious how you’ve developed that in time?

It’s taken time; at first my style was way different, it was monotone, everything was super dark. That’s what I was like as a person then and that’s the kind of range I was into, but then as I got out of that place I wanted to expand how I expressed myself and why I expressed myself. You know, we all have different spectrums of our personality that we express differently with different people. When you’re making music, and see your voice as an instrument, it’s important to be able to try and showcase different aspects of yourself that are still genuine to you, digging into the corners of yourself.

So when you say your voice began quite monotone; this is a fairly generic question but in this case I think it’s interesting, were there any particular influences which prompted that change to the sunnier, melodic style?

I’ve always listened to different styles of music. I started out as a metalhead, which was a big inspiration at first, and when I started to get more into rap it was the Odd Future crowd I was into; I think Earl [Sweatshirt] is still my favourite artist. There was also a lot of Danny Brown and A$AP Rocky, but equally I was in an indie band and I think indie music is where the more melodic tone has come in, so like Bombay Bicycle Club, Wild Nothing, Two Door Cinema Club, bands like that. I was trying to fuse the two styles together.

As someone fixed on cultural divisions and bridges, between metal, rap and indie as an example, do you see your music as trying to reflect that conflict?

In a way, but I don’t see it as a conflict, more a fusion, I think if you put different sounds together in a different context, then people can construct different meaning from them. Getting back to those earlier genres, I still listen and relate to all those styles so I’m trying to build something that constitutes all of me, that’s bringing all of these aspects to me in one place, sonically and lyrically.

Speaking of the lyrics, quite a lot of your singles have been about the idea of home as metaphysical or spiritual, what is it about that that appeals to you conceptually?

I think it’s because I was born in the States, and moved back with my family when I was a couple of months old to Trinidad, and then spent most of my childhood moving back and forth. When I was younger it was a little difficult because I never felt a sense of home that my friends had, especially friends from cities like New York and LA would always rep where they were from, and I lived quite far from my school, and I didn’t have many friends in that area. Then when I went to Trinidad, even though I was with close family, I struggled there too, I didn’t have the accent or anything, so I felt out of place there. As I got older though, you learn how to piece these things together and have it form your identity collectively. Trinidad was born in me even though I wasn’t born in it, so I like the idea that we aren’t bogged down in some geographical restriction but are part of a deeper legacy and space; it’s a mix of nationalism, and a lot of things we need to deconstruct.

Touching wood your career continues to progress at the rate it’s currently moving, when it gets to an album stage, or something larger scale than an EP project, do you think this theme is something you’ll dive into more deeply?

I’ll always refer to it in some way, because it is pretty central to my experience emotionally. The next EP I’m putting out, Little Sparrow, is specifically about that concept, so I don’t think another full-scale project will centre on that same thing, but definitely my music in future will always be traced back to it.

Is there a type of Trinidadian style or movement that’s informed your music?

Yeah it’s soca dude. Soca is the soul of the Caribbean, I love soca music. It's interesting, I’m also getting back into calypso too, Trinidad has some of the best calypsonians, to me at least. It’s such a unique form of music which I’ve tried to incorporate into my own, a lot of soca ideas alongside the normal indie stuff. And I’m definitely leaning more into that recently, and as I continue to go on.

I've read that you've mentioned rap, both listening to it and working on it, has helped your mental health. What is it about rap that’s helped?

I think it’s the intimacy of it. Intimacy’s an interesting word to use with rap, but you’re really hearing people’s stories and a side of people you won’t normally have access to, hearing that exposure has really helped me find things I really connect with that you might not think other people identified in quite the same way. I think I bridged from metal, which is very visceral music and there I connected to its physicality , but a lot of time lyrically it’s science fiction stuff or fantasy stuff or very parabolic, rap for me was a mix of the visceral of metal with the intimacy of these personal stories that really hit me in a special kind of way.

Because you have such varied taste, what are you listening to at the minute?

I’ve been bumping a lot of Rico Nasty, she’s absolutely wild, and she’s from the DMV. Vintage Lee’s also been at the top of my playlists; lot of Chicago cats like Saba and Mick Jenkins. A lot of saco artists too, carnival season’s just passed so we’ve got a lot of cool music coming out now.

Also, with that variety, do you think you’ll go weirder or darker with your production in the future?

Definitely, I’m always down to go weirder with it, to go with as many different types of music as I can fit in without disrupting the mood. I’ve been combining a lot of melodic and abrasive stuff and trying to find good tension between the two, that’s the thing I’m interested in.

Apart from the EP, what are your plans for 2018?

I’m always working on new stuff, so there’s a lot of new tracks coming, hoping to have a new project out soon. Visuals are going to be a big thing, a lot of dope visuals. And live shows, that’s the best part of this gig so I’m trying to get as many of those in as I can. Visuals with the live shows, can’t wait to see the response to what this produces.