ODUMODUBLVCK has unveiled his latest project, The Machine Is Coming. This surprise drop comes on the heels of a series of enigmatic social media teasers that had fans and critics alike speculating about his next move.​ In late February, ODUMODUBLVCK posted cryptic messages accompanied by images of a car accident and himself in a hospital bed, captioned: “SURVIVED. THE MACHINE MUST ARRIVE IN ONE PIECE. IT IS A MUST. THE MACHINE IS COMING.” This led to widespread concern and reports of a near-fatal crash. However, he later clarified that the images were from previous incidents, possibly repurposed as a marketing strategy for his upcoming project. ​

Released a year after his breakout mixtape, Eziokwu, emphasised his status as one of Nigeria’s most forceful rap voices, The Machine Is Coming is packed with what he dubs “Okporoko rhythms” — a marriage of drill, grime, and highlife — and laced with the rough-and-ready, boisterous energy that’s become his calling card. Spanning 16 tracks, this project demonstrates collaborations with a cadre of heavy hitters, including Victony, Vector, Shallipopi, Falz, Ajebo Hustlers, and it expectedly taps into ODUMODUBLVCK’s usual well of street parables, industry call-outs, and aggressive bravado. Positioned as a mixtape, The Machine Is Coming serves as a harbinger for what many anticipate to be his formal and definitive debut album, hinting at a grander narrative yet to emerge. The cover art itself verifies this: ODUMODU is depicted mid-transformation, his body consumed by robot-like machinery that slowly encroaches upon his face, which is still partly human.

ODUMODUBLVCK has a knack for positioning himself as a herald of something monumental, a messenger delivering the promise of transformation. With his previous project, Eziokwu (which translates to “Truth”), he framed his music as a truth-telling endeavor, proclaiming “the truth is coming” before asserting its arrival. This dichotomy between promise and fulfillment is a recurring motif in his work, recalling the prophetic tradition of foretelling a catalytic event. Now, with The Machine Is Coming, ODUMODUBLVCK adopts a messianic tone, likening himself to John the Baptist preparing the way for an industry-defining force.

The Machine Is Coming seems like a reflection of ODUMODU’S chaotic ascent as the whirlwind of genres and moods sketches both his struggles and victories. Typically, he raps with the forceful bravado of someone who’s clawed his way to the top but also carries an edge that reveals the toll of his journey. Tracks like “LEGOLAS,” the guitar-driven opener, recounts the gory path that brought him to prominence. Others like “Gasoline” featuring Vector are pure adrenaline rushes. Even in moments of brash confidence like on “Ballon D’Or” there’s a sense that ODUMODU is grappling with something bigger than himself.

ODUMODUBLVCK has long been dogged by accusations of misogyny, both in his music and his online persona, where his lyrics and interactions often reflect a casual disregard for women. During the lead-up to The Machine Is Coming, ODUMODU made visible attempts to sanitize his image, addressing these recurring criticisms by emphasizing his respect for women and pointing to collaborations with female artists. For all its ambition in this regard, The Machine Is Coming struggles to reconcile the artist’s desire for growth with the deeply ingrained patterns that continue to define his artistry.

Listen to The Machine Is Coming below.