The Machine Is Coming is quite a satisfactory output from a rapper who has set his sight on domination. With scintillating production and satisfying sequencing, the project does not only strengthen Odumodublvck’s growing discography but elevates it with purpose.
By Emmanuel ‘Waziri’ Okoro
The Nigerian Hip-Hop scene, in recent years, has been in the forefront of polarising conversations about its relevance. From Wizkid’s infamous ‘rap is dead’ comment in 2022, to the dilapidating state of the genre’s lack of producing mainstream acts, who currently roleplay as sidekicks to their Afro-Pop counterparts, down the conversations about what truly constitutes as rap music. Surprisingly, at the helm of these conversations is Tochukwu Gbugbemi Ojugwu, popularly known as Odumodublvck, who has stylised himself as Nigeria’s Hip-Hop legacy.
Beyond his social media antics and shenanigans, which have worked to his advantage, Odumodublvck has, over time, become a force to be reckoned with. Though the rap artiste has been making music for several years, his rise in late 2022 first introduced audiences to his unique blend of Rap—Okporoko music, he calls it—marked by edgy lyricism delivered in Nigeria’s South-South dialect over simmering melodies.
Over time, Nigerians have colloquially labelled this style of music as Afro-Cultism, but that hasn’t deterred his quest for nationwide and continental dominion. Perhaps that ambition fuels his newly released project, The Machine Is Coming, billed as a mixtape and precursor to his forthcoming album, Industry Machine.
For all intents and purposes, while The Machine Is Coming is styled as a mixtape, its marketing and promotion suggest otherwise. In hindsight, the rollout mirrors that of his 2023 solo projects, Eziokwu and Eziokwu Uncut—both also labelled as mixtapes but bearing all the hallmarks of full-fledged albums.
Odumodublvck reflects on his tumultuous beginnings and eventual commercial success on the mixtape’s opener, “Legolas”, with production from Scarr that’s almost sonically identical to his 2022 record, “Dog Eat Dog”, and 2023 single, “Commend”. Over the mid-tempo beat, he engages in an internal monologue about his pre-fame struggles, and name-drops key figures in his support system–members of the Anti World Gangsters, who released the Nothing Changed project late last year.
The Machine Is Coming comes alive with “Toy Girl” featuring summering lead guitar plucks, piano chords, and Dancehall-infused drums that will set you going on the dancefloor. The rapper enlists Juno and Valentino to deliver a biting commentary about a woman who toys with men emotionally, treating them as disposable playthings. Laced with street lingo, the track takes aim at a deluded man who believes he holds a special place in her life. Odumodublvck mocks this fantasy with the scathing line: “You talk say she carry you for mind, you don loss”. The repeated line, “She gat toys” can be both literal (a possible allusion to sex toys) and symbolic (referencing the men she manipulates).
On “Early Morning”, Odumodublvck reasserts his Hip-Hop dominance over minimalist production from the trio of Decs, 1Mind, and Promise. His music disrupts the natural order, and he anticipates backlash. Yet he doubles down with Viking-esque bravado: “I pledge to my kala, send them to Valhalla”.
Soft guitar plucks and feathery drum pads animate The Machine Is Coming’s lead single “Pity This Boy”, which finds the rapper joining forces with Afro-Pop superstar, Victony, to create one of 2025’s first-quarter standout hits. In-between the mid-tempo tune, they offer up a gritty, melodic commentary on the weight of expectations, survival, and the pressures of success. Odumodublvck’s characteristic flamboyance finds perfect counterbalance in Victony’s razor-sharp vocal precision, cementing their collaboration as the project’s crowning moment.
Odumodublvck is filled with defiance and self-assurance on the Alté-infused track, “Wage War”, a tune that sees him assert his position in Nigeria’s Hip-Hop scene, fusing street bravado with deep personal faith. There’s a slight commentary on his energy and style of music, which he believes is breaking barriers in lines like, “Kala na you crash the chart, everybody for Hip-Hop love the swag/ Even if they lie, they know I’m the guy”.
“Go Report” is a chaotic, braggadocious, and rebellious anthem that explores the intersection between youthful exuberance and social judgement. Over a bouncy, Drill-infused beat, Odumodublvck delivers rapid-fire bars about living fast and kicking haters to the curb, especially those who police fun and project moral superiority. Lines like “My DJ dey almost kpai two times, him laptop dey the rubble/ But I still dey on the mic” perhaps serve as a haunting callback to the tragic Nativeland Festival stage collapse last year, which left many injured. Yet, Odumodublvck stands triumphant, turning adversity into petrol.
The flow on “Isakaba Man” is disappointingly pedestrian. Given the track’s menacing production from longtime collaborator, Ucee, one expects Odumodublvck’s trademark bravado to take centre stage. Instead, we’re left with hollow chest-thumping, and the chorus “I don’t wanna carry anybody to the cemetery, I wanna do it here/ I go dig ten feet down to the bottom so the body no go smell” is a crude threat that fails to land with its intended impact.
The rapper has long been praised for his melodic prowess, and on follow-up tracks like “Ballon D Or” and “Kylian”, the latter nodding to French football star, Kylian Mbappé, OD’s infectious hooks act like soothing balm for the shortcomings of “Isakaba Man”.
On “BTC”, Odumodublvck is flashy, flirtatious, and confident as he leans into themes of desire, status, and street credibility. Tapping assists from Bobby Ibo, and comedian, Sabinus, “BTC” is an easy-going track, underpinned by survival, particularly in the face of attention, fame, and past struggles. One of The Machine Is Coming’s hidden gems emerges in the form of “Ajebo Hustlers” featuring the titular duo, and rapper, DanDizzy. It’s a balancing act, sieving through the tightrope between street smartness and showbiz. The track seemingly doubles as a victory lap for these four artistes who have paid dues, weathered scepticism, and are now living their wins out loud.
The high-octane “Barrister Tofo”–all pounding beats and mosh-pit chaos–sees Odumodublvck unite with Fatboy E and Falz to deliver an instant club weapon. “P***y Niggaz”, widely speculated to be a conceited subliminal to Blaqbonez, possesses all the trappings of a potent Hip-Hop diss track, yet ultimately disappoints with its lacklustre delivery.
While “Juju” (with Smur Lee and Shallipopi) undeniably dominated airwaves late last year, its inclusion on The Machine Is Coming feels conspicuously token, serving little purpose beyond stat-padding its tracklist. The project slowly winds down with “Ramadan Kareem”, a joint effort with Tolibian and BOJ. Producers Greamer, Ucee, and Cross craft a sublime soundscape that perfectly complements the artistes’ velvety vocal performances; this is a track that will remain a sensation for a long time.
Perhaps it is fitting that the curtain closes with “Gasoline” featuring one of Africa’s Hip-Hop heavyweights, Vector. The production feels minimalist, featuring faint piano strings, electric guitar plucks, groovy bass guitar, and mild staccato drums. Over the emotionally charged track, Odumodublvck reflects on his gruelling come-up with visceral imagery: “Sacrifice my Timberland and Air Force One and trek with no aim/ Them been wan take advantage”. Vector assumes a natural role as elder statesman, delivering razor-sharp bars with the regal composure of a monarch holding court from his armchair: “I dey see some of the talk but I dey keep mute/ E be like whack album to me I dey skip through”.
The Machine Is Coming is quite a satisfactory output from a rapper who has set his sight on domination. With scintillating production and satisfying sequencing, the project does not only strengthens Odumodublvck’s growing discography but elevates it with purpose.
Noticeably, there are moments on the project where one would expect the Odumodublvck to wax lyrical in a manner that matches his larger-than-life persona—both online and offline. However, tracks like “P***y Niggaz” and “Isakaba Man” fall short of that expectation. Even so, his standout verses on other records, such as “Go Report”, “Gasoline”, and “Early Morning” more than make up for the dips.
While this ‘mixtape’ may never eclipse the commercial impact of Eziokwu, it triumphs admirably in showcasing the rapper’s thematic range and sonic versatility. If this project serves as a harbinger for Industry Machine, we might well be witnessing the dawn of something exceptional—if not outright brilliant.
Lyricism – 1.2
Tracklisting – 1.4
Sound Engineering – 1.6
Vocalisation – 1.4
Listening Experience – 1.5
Rating – 7.1/10
Emmanuel ‘Waziri’ Okoro is a content writer and journo with an insatiable knack for music and pop culture. When he’s not writing, you will find him arguing why Arsenal FC is the best football club in the multiverse. Connect with him on Twitter, Instagram, and Threads: @BughiLorde