In the wake of an argument with a romantic partner who accused him of being duplicitous, Nigerian singer-songwriter Boj started to ponder his life and the impulses that underpin his decisions. Naturally, that process bled into his music, shaping his sixth studio album, Duplicity, a 13-song inquiry into the duality of man and the veil that separates public and private life. The paradox of Duplicity is that it’s an album of honesty. Boj candidly emotes his fascination with jewelry, women, cannabis and money, while also tackling feelings of inadequacy. “Keep going and don’t be scared/You have every right to be here,” Obongjayar advises his host on “Imposter Syndrome”. Boj seems to take the advice in stride, pulling moments of elation from the jaws of the chaos he’s working through: He delivers a potential Detty December banger on the pentatonic “Ijo” and taps ODUMODUBLVCK and SGaWD for “Italawa”, a dedication to living in the moment built on raspy log drums and ominous shakers. Even when he’s examining the parameters of attraction on “After Hours” and “Rodeo”, there is a dynamism to Boj’s work that is catalysed by Genio Bambino’s vision. The alté doyen’s lithe instrumentals help Boj to find something approaching relief, like on “Command”, where he breaks down the particulars of his lifestyle, and “Diamonds”, which features a back-and-forth with Mavo. By the time Duplicity reaches its end on “Coming for Me”, Boj is comfortable enough to admit that he feels paranoia, but he’s confident he won’t ever experience loss.