ODUMODUBLVCK has never been one to bite his tongue when it comes to matters of his truth, and when it comes to uncomfortable conversations, he has never been one to shy away. As he graces us with the release of his sophomore album, Industry Machine, Odumodu returns with some venom in his voice, and he makes it clear he remains forever ready for any challenge.
Lyrically, on Industry Machine, Odumodu’s metaphoric Timberland bootprints are heavily noticeable across the constitution of this project as he goes out on attack mode, and tracks like the Pa Salieu assisted Unaware can bear testament to this fact. While their rivals remain complacent and conduct business on laissez-faire mode, Odumodu alongside Pa Salieu, are on high alert, as they revel in their utmost readiness to settle differences with intent and precision.
If you ask ten different people what they think of Odumodu, there is a high chance that more than half of them would have the same answers. And when artists take their creativity to unfamiliar surroundings, they tell passive listeners and even day one fans that there are layers to their personality and a deeper core to their authenticity.
That is what Odumodu showcased on Baby Reindeer and the Cash Cobain assisted 2 People. On Baby Reindeer, only two things matter to Odumodu: the beauty of his woman and his hometown hero status. He drowns himself in these two things in a laid-back style. But for me, the high point of this track is the nod to Tony Tetuila and Tic Tac’s Fefe Nefe. It’s always nice when contemporary artists pay homage to the ones who came before them. On 2 People, I can finally say Odumodu has healed the trauma I sustained from him wanting to “dagger Olufunmi on that reimagined track.” Jokes aside, by Odumodu’s standards, this is a proper love song. There is nothing vulgar about this track, and as he moves through the motion, you can hear how his voice is layered in respect for his woman, and you know what? While he sounds laidback on this track, he sounds believable, too.
Candy Music – This is the best song on the album. From a rap song point of view, Odumodu’s flow on this track can be likened to a winger in flow state taking on opponents and beating them with ease. Odumodu gracefully dances around this beat, but more importantly, the chorus to this track is cinematic. Close your eyes, imagine it is 2001 all over again, and you are watching ISSAKABA. Now, in one of their many robberies, imagine the chorus to this song being the soundtrack of their operation. It does not feel out of place. Speaking of cinematic songs, Shoot and Go Home from 2023’s Eziokwu deserves a shout-out too. Odumodu, if you ever see this, reach out to Kemi Adetiba and have your song(s) become the soundtrack of one of her fight scenes.
Ejor—The features did not disappoint. Ayo Maff and Smada brought their A-game. Sonically, this sounds like the type of song to play at the end of a long night out. In this clout-chasing and attention economy, this song is also a plea to self not to do too much.
Notable lyric(s) – I don use my raw hand take open corn beef, black Jet-Li.
Tiffany — First things first, shout out to Psycho YP. He delivered his constituency, cleared his plate, and left no crumbs. This track is an example of how contrasting styles is not always a bad thing. Afro Drill meets Afro Trap. Both artistes on either side of the sonic divide bask in the dreams of a camo-colored Lamborghini, high-end weed, Casamigos, and chains from Skepta’s long-term collaborators—Tiffany & Co. “Like Skeppy, I go run the Tiffany easily.”
I want to avoid flogging a dead horse. The duo of the traditional BIG 3 featured on this album delivered on their features. Davido on Grooving and Wizkid on Big Time. To avoid having repetitive conversations, that’s all I’m going to say on that.
My only gripe with this album is the couple of filler songs that made the album unnecessarily long. But at the same time, it can also be looked at as Odumodu giving his fans enough songs to listen to till the next album comes around. Whether you are a fan of Odumodu or just a passive listener, with the features on this album, there is a little bit of something for everybody.
While Odumodu’s debut, Eziokwu, cemented him as the truth, Industry Machine makes it clear that regardless of what you think of him or his sound, he is here to stay. And if you are out there wanting to doubt the authenticity of the Industry machine, in Odumodu’s own words, – challenge me and see, e no cost.
Lastly, compared to Eziokwu, Industry Machine’s foundation is not rooted heavily in melody and references, but there is still melody and references to be found. On Industry Machine, Odumodu is self-assured, in celebratory mood and crowns it all with a dominant demeanour. Let’s make something clear: Odumodu did not suffer a sophomore slump, and that alone calls for celebration.
7.5/10 – on another day, a light 8/10
