To tell the story faithfully, ‘Paper Airplanes’ is the product of two years, three cities, and people whose history runs deeper than any single project. Don Ozi and Enjahn, the producer duo behind Svndaypack, and Damitothewrld are not new to each other. Don Ozi and Dami are cousins. Enjahn met Don Ozi at a boarding school in Ibadan where they ended up in the same dormitory and bonded over Chelsea, Odunsi (The Engine), and an open FL Studio session. By 2021 they had a name, borrowed from the weekly food parcel every student at  Scripture Pasture Christian Center (SPCC)’s Lifeforte school looked forward to on Sundays. All three grew up on  gospel music, and that foundation is audible on this EP.

The six tracks that make up ‘Paper Airplanes’ sit within the Soul and R&B canon, and they do so with a clarity of intention that is rare for a debut project. There is no hedging, no attempt to split the difference between what these three make naturally and what the current moment rewards commercially. The EP opens with “Paper Planes,” a statement of tone more than anything else, unhurried and warm, establishing the emotional register that everything after it will operate in. It is the kind of opening track that tells you immediately whether this is music for you, and it does not try to convince anyone who needs convincing.

“Superhuman” and “Empires” carry the EP’s conceptual weight. Dami writes from angles most contemporary love songs do not bother with. “Superhuman” sits with the particular exhaustion of someone who has given everything and still comes up short, not in ambition, but in love. “Empires” asks what it means to build something that lasts when the person you wanted to build it with is gone. These are not abstract ideas dressed up in metaphor. They are specific feelings rendered with precision, and the production holds them without overcrowding them. “Kenzilla” exists on the same plane, deliberate and unhurried, the kind of track that reveals itself across repeated listens rather than announcing itself immediately.

On “Winnerman,”the EP’s central tension becomes most explicit. The idea of a man who cannot hold love despite everything external going right is not a new concept, but the way Dami approaches it makes it feel freshly observed. There is no self-pity in the writing, and no resolution either. The song sits with the contradiction and leaves it there. Enjahn and Don Ozi build the production around that stillness, resisting the impulse to give the track a lift it has not earned. “Typical love songs have the same emotions,” Enjahn says. “He came at it from a different perspective.” That restraint is a production decision as much as a songwriting one, and it is consistent across the whole project.

“Drama” closes the EP and is its most immediate track, the Afropop cadence in its production, the only moment across six songs that nods toward what is commercially dominant right now. Placed at the end, it functions less as a concession and more as a reminder of where these three come from. The Nigerian SoundCloud generation that shaped Don Ozi and Enjahn’s early tastes is present in “Drama” in a way it is not elsewhere on the project, and hearing it last rather than first means it lands as context rather than as an introduction.

The emotional depth on the ‘Paper Airplanes’ belongs almost exclusively to Damitothewrld. He wrote it about real messages he composed and never sent, and the image he reached for was folding them into paper airplanes and letting them go toward someone he could no longer reach. “That’s a true message, to somebody,” he explains. “I hope they know.”  Enjahn puts it plainly: “Almost everyone has that one person you wish you could reach out to but you know you can’t.” 

The EP came together properly during a camp in Lagos roughly two years ago, the first time all three were in the same room with the intention of making something concrete. “That was the inception of songs like ‘Drama’ and ‘Winnerman,’” Don Ozi says. “Those came naturally.” Everything else spilled over  from there, shaped by the distance between three cities and the particular discipline of people who have been making music together long enough to know when to push and when to leave something alone.

The production language Enjahn and Don Ozi have built across nearly a decade is central to why the EP sounds the way it does. Enjahn leans toward harmony and texture with Robert Glasper and Mike Dean as reference points. Don Ozi works from groove and rhythm, drawing on sounds coming out of South Africa and Chicago. In practice, those roles are fluid. “There are songs where Don Ozi came with the melodies first and we built off that,” Enjahn says.

Svndaypack has never chased popular sonics, and ‘Paper Airplanes’ is not intended to  start doing so now. “We have our formula of soul and bounce,” Enjahn says. That formula holds across all six tracks, and this EP is its fullest realisation to date. What follows is already in motion. A debut album is approximately 30 percent complete, with more music featuring Dami in the vault. “Between now and next year, there are a lot of cool collaborations coming,” Enjahn says. “We’re trying to bring everybody into our world.

Listen to ‘Paper Airplanes’ here.