For the entirety of 2025, ODUMODUBLVCK turned the word “Machine” into a brand. Following the wide public acceptance of his debut mixtape, EZIOKWU, that etched the rapper as one of the most prolific in Nigeria, ODUMODU’s influence and credibility have only gone up and higher. That momentum culminated in his “Next Rated” win at the 2025 Headies Awards, a fitting recognition of a year defined by consistency, impact, and cultural dominance.

In February, after his hit track “PITY THIS BOY” with Victony, he began the herald of his “Machine.” With multiple snippets, promotions from top English Premier League footballers like Anthony Elanga and Virgil van Dijk, and a cascade of caps-locked tweets on X, he impressively released THE MACHINE IS COMING, a sort of prelude to the main album.

THE MACHINE IS COMING was a brilliant collection of ODUMODUBLVCK’s rap and rhythmic prowess with tracks like “LEGOLAS,” “WAGE WAR,” and the Blaqbonez diss track (allegedly) “PUSSY NIGGAZ” standing out. Rolling out an album with an album is a class move. Not only was it the first show of creativity from him and his camp, it also heightened expectations for the INDUSTRY MACHINE.

So, after another round of building anticipation, multiple snippets, a Slawn-made cover art, and two pump-fakes, “The Machine” has arrived in one-piece; but it is quite underwhelming.

Don’t get me wrong, the music on the album is amazing, but 23 songs in this era is simply  exhausting. ODUMODUBLVCK opens with the very melodious onymous track, “INDUSTRY MACHINE” which had  been pre released. On the track, he sings of triumph, his dogged journey, and gives an emotional shoutout to the late MohBad. Before the album’s release, a number of snippets had sufficed on his social media, and that was a part of the problem. The chorus was the highlight of the song, and after hearing it about three months earlier, the second verse just wasn’t hard enough to bring something different.

“UNAWARE” is the second track, with British rapper, Pa Salieu. Both rappers go back and forth with tough verses. It is a very good “tough guy” rap performance, and a solid introduction for a first-time listener to ODUMODUBLVCK and Pa Salieu on a track, but the dilemma comes when compared to the two rappers’ performance on Pa Salieu’s 2024 “Big Smile.” They could have absolutely offered more. 

“BABY REINDEER” is a very slow and dandy love song. “BANZA BOY” is the switch up. The simultaneous bass drums in the track’s intro softly merges with the full production in the body. It feels boppy; like a particular hypnotizing TikTok sound I’ve heard somewhere. About a minute in, Western Weiss, the main producer, sneaks in a smooth flute behind ODUMODU’s vocals, which foreshadowed the following highlife groove, “GROOVING,” with Davido and Seun Kuti. The Igbo Highlife track is stellar for what it was. You could already envision the kegs of palm wine, silky background dancers, and high wealthy Chiefs laughing at a joke that you wouldn’t understand even if you were there when it was made. So, after all of that high vibration, “BIG TIME” being the track that followed felt completely wrong.

As braggadocios as having a Wizkid feature directly following one from Davido is, the energy flow of an album is crucial, especially in a genre as stimulating as rap. I believe every amazing rap album is divided in three parts: the climax or rise that is fazed into the main corpus by a lighter yet energetic genre, combined with rap. On Olamide’s Baddest Guy Ever Liveth, he achieves this brilliantly with “Anifowose.” M.I’s MI 2: The Movie has the Highlife upbeat “Number 1” with Flavour, and even ODUMODUBLVCK’s debut EZIOKWU has “KUBOLOR” as its gateway. The anchor track introduces listeners to the faster and purer peak or main corpus, where the rapper flaunts his creativity, heavy hitters, and pacy production.

The final part is the fall, and “BIG TIME” would have sounded better and more contextual at the album’s fall. ODUMODU and Wizkid are very reflective and in a “see-how-far-we’ve-come” mood. Wizkid maintains his amazing run of 2025 features. It is an amazing track, no doubt, but a sore example of wrong placement and timing.

“VINICIUS” and “TIFFANY” with PsychoYP, has ODUMODU flaunting his melodic prowess, and on “ADENUGA,” he goes off. “ADENUGA” is my highlight track — Makama’s classical-apocalyptic chords, the Anti World Gangstars rapping like rent is long due, and Skepta matching the flow, everything on the track sat perfectly.

“MARADONA” was a brilliant attempt to integrate reggaeton in his album. Featuring American singer, Justin Quiles, and rapper, Saweetie, the trio deliver a very different type of Latino-African collaboration than we’ve seen. The pre released “PAY ME” with Stormzy and Zlatan follows, leading to “LAYI WASABI” that comes with a one-of-one verse from Reminisce “lo lo lo lo, Local rappers/ Fuck it, tani fe tan yi.”

“DO YANGA” featuring Patoranking is a brilliant dancehall cut that’ll unintentionally have you swerving your shoulders. “MY ANGEL” , a smooth, nerve-calming ballad with Chike, finds the singer stealing the spotlight with his enticing tenor. The momentum continues with “BAGGIO,” featuring Prettyboy D-O and Giggs — the third football-termed track on the project.  I respect ODUMODUBLVCK’s heavy incorporation of the sport in his music; but at this point, it feels like he’s stretching so much to make another “DECLAN RICE.”  

“BOMBASTIC ELEMENT” is a perfect example of what a particular Nigerian artist [Burna Boy] certainly means by “Afrobeats has no substance.” The track sounds more a parody than anything more, and on his verses he is extremely lazy with his lyricism; “I dey wear native just to chop eba.”

“GHETTO MAN YUTE” is another standout track, especially with the melodies in the hook which has turned out to be his strong point. “2 PEOPLE” featuring Cash Cobain is a love song on classic UK Drill drums, and “EJOR” with Ayo Maff and Smada is quite forgettable.

Now, let’s talk about the final track, “HALLELUJAH” with Tobe Nwigwe, Jeriq, and Phyno. It is beautiful, nostalgic, and as closures come, very special. ODUMODUBLVCK ignites a very familiar feeling from the average Nigerian Christian household morning prayer sessions. The claps, the tambourines, and back-up choir build the perfect feel. He thanks the Supreme Being for everything he has and how far he has come, and the featured verses also do well to stay on theme.

INDUSTRY MACHINE is an overthought album. The tracks are brilliant individually, but when put together, there is a serious cohesion and symphony problem, unlike what made his debut EZIOKWU so brilliant. However, you cannot deny the superb production across the album. As dazzling as the feature list appeared, it might have just taken the spotlight, rather than the actual music on the album. In general, ODUMODUBLVCK did good, but the itch that there were a few moments where he could have done better feels unsettling as a fan.