ODUMODUBLVCK’s mixtape, Eziokwu (The Truth), is finally out. A receptacle of 14 tracks, the project contains features from Blaqbonez, Amaarae, Bloody Civilian, Wale, Reeplay, Teezee, PsychoYP, Ecko Miles, Cruel Santino, Bella Shmurda, Zlatan, and Fireboy DML. 

ODUMODUBLVCK blends a spectrum of musical influences over the tracks, weaving together elements of drill, hip-hop, highlife, and more.

“Eziokwu” is a term drawn from the Igbo language, translating to “truth.” And ODUMODUBLVCK swears that this mixtape is a revelation, the truth which will set you free. Free from what? I suppose, the shackles of doubt, the skepticism surrounding his artistry, and the persistent question of his relevance in the Nigerian music industry.

Hip-hop, as a genre, has always been rooted in the realities of the streets, where survival often demands a sense of gritty self-assuredness. ODUMODUBLVCK, like many hip-hop artists before him, harnesses this braggadocio as a means of asserting his identity and commanding respect within the genre.

On this mixtape, he’s here to flex his street cred and the sonic swagger is evident from the very beginning. The opening track, “COMMEND,” sees ODUMODUBLVCK preening under the validation of a lover while asserting his sexual competence. “I tell you brother, when I throway she been commend me…na me be captain of her ship,” he confirms.

Yet, while braggadocio can be a potent tool for hip-hop artists, it is not without its pitfalls. In Eziokwu (The Truth), ODUMODUBLVCK occasionally treads a fine line between confidence and overindulgence. One track that highlights this complexity is “MC OLUOMO,” titled after a controversial figure in Nigerian politics known for his involvement in the National Union of Road Transport Workers (NURTW).

By drawing a parallel between himself and MC Oluomo, ODUMODUBLVCK navigates treacherous territory. On one hand, this comparison can be seen as a demonstration of his unapologetic persona, suggesting that he, too, is a force to be reckoned with. However, it also raises questions about the potential alignment with figures who may be associated with negative influences or actions. 

He raps, referencing the guy in a manner that can be interpreted as admiration or, perhaps, an ironic critique of the blurred lines between power, influence, and notoriety. As listeners, we are faced with the challenge of navigating this paradox, of appreciating the intrigue of his sound while holding him accountable for his words.

Fan favourites like “DECLAN RICE,” “FIREGUN,” “PICANTO,” and “DOG EAT DOG II” — a sequel that not only lives up to its predecessor but surpasses it in many ways — are present in the project.

As the mixtape progresses, the beats remain hard-hitting, and the artist’s flow remains relentless. On the standout track, “SAINT OBI,” ODUMODUBLVCK kicks down the door and storms in, guns blazing, just like the late Nollywood veteran known for his unforgettable gun-toting mob roles. “You think say na your one stream,” he mocks. His assistant on the track, Reeplay, does his part by matching the intensity.

While his problematic tendencies cannot be ignored, they exist within the larger context of his undeniable talent and his role as one of the pioneers in the new frontier of hip-hop in Nigeria.