After three full length albums and a countless run of features in the space of ten months, the creative toll of being NG’s Hip-Hop flagbearer is beginning to take effect on him.
Rappers are no strangers to the art of being prolific. M.I and Olamide, two of the greatest rappers out of the country have discographies in the tune of double digits. In their creative and commercial prime, they were also proactive with collaborations and co-signing the next generation. So ODUMODUBLVCK isn’t charting territory that past rap king-pins haven’t towed, but perhaps he should pace himself.
Despite OD’s prowess in making good, accessible music that doesn’t dilute the essence of Hip-Hop but also embraces cultural context—for one thing, he doesn’t have the sheer talent of the aforementioned emcees and hasn’t come close to replicating their skill or dexterity. He isn’t the incompetent rapper many make him out to be and he definitely has great rap records under his belt, but he isn’t a phenomenal emcee either and with that comes it limitations.
His topics and musings hardly venture pass the usual braggadocious swagger, detractors-bullying-antics and romantic escapades. That isn’t a bad thing in itself, because the execution is usually good and he’s the most skilled rapper currently at weaving melodies. However, there is only so many features you can hand out, so many albums you can make in a short period of time—before that thread starts to come undone.
The eponymously titled opener is made up of the elements that defines his Okporoko sound. Highlife indented drums, airy flutes and a unique brand of chaos energy imprinted in his rap. On a sonic level, the song works because there are enough interacting dynamics in the production, instrumentation and his vocal performance. However, the lack of nuance or fresh insight into these familiar topics rear their head very early on this LP.
ODUMODUBLVCK taps Pa Salieu in on the trap record, UNAWARE. The song mostly shines on the hook, when OD reaches into his melodic bag and weaves something rich. His usual charisma is present on his verses and while it isn’t lacking for energy, there is hardly rhythm or structure in his rhymes. Acoustic guitar strings permeate the baseline of BABY REINDEER, setting a romantic ambience for OD to extol the magnificence of his woman.
It strives for the same soulful territory of KUBOLOR, but the writing here isn’t as heartfelt neither is his vocal performance as melodic. BANZA BOY is an Afro-Drill record that retains the highlife synthesizers on previous tracks. The lyricism here is very simplistic but it works because OD deplores some nostalgic flows, that resonate like basic Nursery rhymes. It’s one of the album’s peak moment and this writer’s favorite track.
By now, word has spread that Wizkid stole the show on BIG TIME and while there is substance in that statement, Telz was also on demon time. The contrast in production to UNAWARE—another trap record—is crystal clear. Telz’s kicks are crispier and his beat is more layered with harmonizing vocal chops and better instrumentation. OD is content in taking the backseat, while Wizkid does show out. The repetition of his verse dulls its potency a bit, though.
GROOVING is a premium hiplife record, replete with rhythmic classical guitar riffs and jazz horns. Davido’s tenor fits like a glove into the song, and it’s a nice contrast to OD’s voice. His verse is catchy and easy on the ears too. VINICIUS is used as a metaphor for a love interest with dubious ways. The chorus and the first verse flirts with sensual tension and OD narrates an ordeal where said lov3 interest derives pleasure from teasing him. However, these raunchy topics have never been his strength because he has the tendency to come off as brazen.
TIFFANY heads back into trap territory like UNAWARE and BIG TIME, but it’s closer to the former. The hook is very catchy and the beat is mostly bare, asides some tepid piano notes unlike the multifaceted production on BIG TIME. Fortunately, this soundscape is Psycho YP’s territory and he makes better use of the pockets on the beat, despite being underused because his verse should have been a bit longer.
ADENUGA is one of the album’s highlights because everyone locks in. The Antiworld Gangsters match the BPM of the song with dexterous flows, like they’re strangling the beat. Even Skepta who is renowned for his methodic, easy flows—ups the tempo on his brief cameo on the song. Justin Quiles turns in the performance of a lifetime on MARADONA, but it’s a shame it’s wasted on a log drums infused beat—when it could have faired much better on a swing template. Saweetie and OD deliveries also leave a little to be desired.
PAY ME samples the 2003 classic “Ahomka Wo Mu” by VIP. Another song, another trap record. The sample is under utilized here because it’s not incorporated meaningfully into the song, asides one reverbing line beneath the vocals. Stormzy’s dynamism in singing and rapping on this song is impressive and it’s what truly stands out. Indigenous rap royalty Reminisce appears on the grime record, LAYI WASABI and he goes off on the beat, like a Dog with a leash that has come undone. It’s the one redeeming quality of the song, amidst OD’s underwhelming rhyme schemes.
It’s at this point, the fact that OD is creatively worn out starts to show. His elementary flows work on the hook of TOO SPOILT, because it is grounded in simplicity but his verses don’t transcend this painful simplicity. His flows are one-note and the lyrics in itself barely have any ingenuity to them. At least on VINICIUS, when he explored sexual conquests, there was some variance in his delivery.
Fortunately, his hunger is back on IF YOU LIKE GYM and it’s unarguably his best performance on the LP, because it sounds like classic OD. That organized chaos energy in his rap, that usually backs up his punchy bars now makes the brazeness justified. There are thematic loose ends that range from bludgeoning enemies to pleasuring free spirited women and stunting on detractors. Once again, it’s the sort of organized chaos OD thrives in and the fact that he outshines an all-time great like Modenine on the song is testament to the fact.
The hook on CANDY MUSIC, attains the perfection of ADENUGA’s and despite the song being very ripe with melodies—OD’s rapping is one-dimensional again and feels too familiar. From here on out, it’s an onslaught of filler tracks that shouldn’t have seen the light of day. DO YANGA is an underwhelming attempt at Konto with mediocre production that doesn’t capture the galloping pulse of the sound. The less said about OD on the song, the better and blink twice and you’ll totally miss Patoranking because he’s equally underwhelming.
There is such a huge disconnect from OD’s cadence on MY ANGEL and the tempo of the beat, that it sounds so jarring like he’s uninterested and dozing off on the beat. There is little Chike can do to salvage the song, despite being a constant in elevating romantic tracks on albums. When you think it can’t get any worse, it does get worse on BAGGIO. He’s deploying the same aggressive sentiments to his haters with football metaphors, but it’s such an overflogged formular at this point that it’s excruciating to listen to. And just like Chike, the Pretty Boy D-O and Giggs features are wasted.
Things don’t get any better on BOMBASTIC ELEMENT, but there is a self awareness OD has on this record that makes it hilarious and a more bearable song than the preceding tracks. This is his take on hyper-pop lamba, but he lacks the swaggering relentless flows and maximalist beat that a Rema’s AZAMAN has. GHETTO MAN YUTE is the most painful listen on the LP, because OD doesn’t even try to construct a competent hook and just “lalalalas” his way through the entire mid-section. In fact, the song is so egregiously bad he sounds like he’s mocking the listener.
The lyricism hardly gets any better on 2 PEOPLE, but it at least has great Drill and Highlife fusion production going for it. Cash Cobain also makes something of the song and it’s clear the beat was tailored to his trapping proclivities. EJOR is an improvement on the underwhelming five track sequence, despite OD’s flows being derivative once again. Smada surprisingly has the standout verse on this song, as he’s given more to do although Ayo Maff’s brief cameo left an indelible mark on the song too.
OD recruits his fellow Igbo compadres, Phyno and Jeriq on album closer, HALLELUJAH. One rapper is an OG and unarguably the most accomplished rapper of the tribe and the other is the new cat tearing up the scene. So it’s curious why OD deploys them on a mellow record. Indeed, Igbo rappers orbit between Hip-Hop and Highlife seamlessly and the song conforming to the latter genre isn’t inherently a problem. However, it’s a waste of dynamism featuring these acts on a song where they can’t take the safety off, despite their good performances.
The first half of INDUSTRY MACHINE is a commendable evolution of ODUMODUBLVCK’S Okporoko sound. It strays from its heavily melodic roots in EZIOKWU and embraces more Hip Hop dalliances. Unfortunately, the execution falls short because rap demands even more dynamism and OD is found wanting on one too many tracks. Perhaps, it’s time to take a breather because for the first time since his breakout, ODUMODUBLVCK sounds exhausted.
Final Verdict:
Sonic Cohesion: 1.5/2
Expansive Production: 1.5/2
Songwriting: 1.1/2
Delivery: 1.2/2
Optimal Track Sequencing: 1.0/2
Total: 6.3/10
