Anti World Gangsters (AWG) are back with a ten-track sophomore album, NOTHING CHANGED. This comes five years after the group’s first album, GANG BUSINESS. The album has a well-thought-out list of features, including; Don Jazzy, Olamide, M.I, Xcafino, Psycho YP, Unknown T, Hotyce, Mizzle, Mono P ,and Tomi Obanure, a list that strikes the perfect balance of star power and growth with artistes with whom they’ve been on the come up with. It embodies the kind of loyalty and relationship that the collective holds dear. They are basically brothers by shared experiences and street OT (read as orientation).
The Nigerian soundscape isn’t new to collectives and super-groups. In fact, at different points in different eras, some have been at the top of the Nigerian music scene. From Plantashun Boiz to Styl-Plus to Remedies to Psquare to pure collectives like The Trybe (Eldee, Freestyle, Kb, Blaise, Sasha P, Dr Sid), the 419 Squad, Mo’hits, the Knighthouse crew, the Collectiv3 (Show Dem Camp, iKon, Kidd Konnect, Ladipoe, and Funbi) and even gospel groups like Infinity and Midnight Crew. More recently, we have collectives like Apex Village (Psycho YP, Azanti, Laime, Marv OTM, Uloko, Thrill Max etc) and groups like Ajebo Hustlers and Westhan Boyz. Through this album, Anti World Gangsters (AWG) attempt to plant their feet firmly, in the Nigerian music scene.
But who are the Anti World Gangsters? The AWG is an Abuja-based collective, formed sometime in 2018, consisting of ODUMODUBLVCK, Reeplay, Agunna, Fatboy E (fka Ekizzy J), Shagba, and Cross, the group’s major producer. Across that six-year span, the collective has been involved in a handful of projects, soundtracking the grimy aspects of Abuja life. You can’t talk about drill music in Nigeria without mentioning the Anti World boys. In fact, you can’t talk about Hip-hop in Nigeria, especially in the past half-decade, without mentioning the impact of the Anti World boys. If you doubt it, just take a look at any Hip-hop playlist on Spotify, Apple Music, or other DSPs. It’s not cho cho cho, they’ve shown workings.
Interestingly, AWG’s rise mirrors that of one of the defining voices of hip-hop in the 21st century, Curtis ‘50 Cent’ Jackson, and his group, G-Unit. 50 Cent, G-Unit’s biggest star, released his most successful album, GET RICH OR DIE TRYING (GRODT), on February 6, 2003, and nine months later, on November 14, 2003, G-Unit dropped their most successful album, BEG FOR MERCY. G-Unit was an East Coast-based group that originally consisted of 50 Cent, Tony Yayo, and Lloyd Banks. At one point or another, The Game, Kidd Kidd, and Young Buck were also members. Similarly, AWG’s biggest export, ODUMODUBLVCK, released his currently most successful album, EZIOKWU (UNCUT), on the 16th of December 2023, and exactly one year later, on the 16th of December, 2024, AWG dropped NOTHING CHANGED.
Before we dive into the tape proper, a final observation is the album art’s links to another legendary hip-hop crew. The cover, designed by the amazingly talented Anthony Azekwoh, can be seen to have drawn inspiration from the late ‘90s collective The Firm’s album titled THE ALBUM. The Firm was a supergroup formed by rapper (read as ‘god’) Nas, Stoute, and legendary producer, Dr. Dre. The group consisted of Nas, Foxy Brown, AZ, and Cormega. Nature later became a member of the group, replacing Cormega.
Now, let’s dive in, kala style!
Track 1: My Bandwagon
Has there ever been a more fitting intro!? AWG boldly state that they are all here (in the industry). ODUMODUBLVCK made the chorus his, floating on Cross’s carefully melded production. Like prime Jamaica in the Men’s 4×100, each artist dropped solid verses heavily centered around the spirit of camaraderie. This can be perfectly summed up at the end of Agunna’s verse when he asked
“Kala, what if Ọlọpa wan park the wagon?” and ‘Modu replied, “we go seize their uniform turn to custom.”
Track 2: Asampete feat. Don Jazzy
First of all, AWG featured Mavins boss Don Jazzy. AWG freaking featured Don Jazzy! On the production, Cross takes a more laid-back approach, utilizing strings to create a beautiful tune that captures the core of okporoko music. ODUMODUBLVCK again was on the chorus, and as usual, he ate!! Don Baba Jay’s unique voice was a constant throughout the track, providing backup for each verse before coming to the fore towards the end of the track, where he and Big Kala did a little thing with a medley of their voices just vibing. It was so, so beautiful.
Track 3: Amabanga feat. DJ Mono P
This track is reminiscent of a mid-2000s beach party jam. AWG released this as the lead single to the album, and just like contained in the title, this will definitely be a club banger.
Production credit, this time, goes to UCEE. His percussion-heavy production conveyed the groovy vibe that was needed for this track. DJ Mono P, AWG’s official DJ, was featured and his energy could be felt throughout the entirety of the song. Each member of the collective dropped solid verses, and ODUMODUBLVCK was on chorus duties as usual. But there was just something special about Shagba’s verse. That man glided effortlessly on the beat with his pidgin-worded erotic lines. Not to gawk but it did something to me.
Track 4: Grr feat. Hotyce
This track portrayed +234 Drill in all its glory!!! Vladmirovich (ODUMODUBLVCK) was in his element. As usual, he took the chorus, after which Fatboy E entered, guns blazing. Hotyce, an AWG-affiliate, was the perfect feature for this track, blending seamlessly and delivering a standout verse. Reeplay, Shagba, and Agunna did not disappoint, each of them dropping violent verbal illustrations of what they’d do to their opps. Cross was on the beat for this track.
Track 5: Jegede feat. Olamide
For the first time on the project, ODUMODUBLVCK was relieved of chorus duties, and who better to relieve him than Baddo himself? AWG featured Olamide and Smada on this joint (I know, right? Who ever thought you’d see Smada and Olamide on a song together?). Olamide delivered a beautiful chorus on Eskeys’ production, and ODUMODUBLVCK took his verse first, where he pompously reminisced about some of the things he did during his ‘UNILAG era’.
“…any babe I see, I go toast/ confidence dey my breath (on a low I’m a ten)…”
Smada went next, and he pulled his weight crooning, in his now familiar manner. Fatboy E had the last verse.
Track 6: After God feat. MI Abaga, Xcafino
After God is conscious rap. It is essentially social commentary about the human propensity for evil and the hypocrisy of majorly religious leaders in society. It explores themes of rape and sexual exploitation. ODUMODUBLVCK and Reeplay tag-teamed with Mr. Incredible and Xcafino, in a posse cut for the ages. Reeplay was tasked with the hook, and Xcafino delivered an amazing chorus (I’ll surely be checking him out), belting out
“fear human being, ọmọ dem no get conscience…”
As he so often does, ODUMODUBLVCK employed raw, vivid, disturbing imagery in his verse to pass a poignant message across. It’s raw, broken expression of the evil that pervades some of our institutions.
“… na her pastor been bust the poor little girl…”
“… a girl of twelve, he f***ed her to death…”
Has M.I ever had a bad verse? I think not. And I was proven right as he casually dropped a killer verse on the XL production.
Track 7: Thunderstorm feat. Unknown T, Psycho YP, Tomi Obanure, and Hotyce
“Sholz out here!” The lineup for this track was stacked. From Sholz on the production to U.K.-based based star, Unknown T, Psycho YP, Tomi Obanure, and Hotyce. As expected, from start to finish, it was hard bars upon hard bars upon hard bars! AWG held their own, going stride for stride with a line-up that’s basically Abuja VS the world. The cohesiveness wasn’t so surprising. At this point, Tomi and Hotyce are basically Antiworld boys, and Diligent King, YP, has probably gone back and forth on a track with Big Kala at least ten times so far.
Track 8: Mama, Pray 4 Me
Track eight ushers us towards the end of the project. On the fast-paced GMK beat, the cohesiveness of the gang really shines through. Each member took turns delivering solid verses, but my personal favourite was definitely Fatboy E’s, especially when he rapped “…apply 99 percent intelligence, I dey use ákọnuchè”. Use your sense, brothers and sisters!
Track 9: Rumuokoro Boys
Rumuokoro is one of the busiest hubs in the city of Port Harcourt; as a result, it attracts all the hustlers from in and around the city. PH has always held pop culture significance in Nigerian music, with acts like Duncan Mighty being foundational to the modern high life sound and Grammy-baby, Burna Boy, putting the city on the global stage. In recent times, talents like Omah Lay, Dan Dizzy, and Ajebo Hustlers have continued to shine the torch.
The track is basically AWG extolling the ‘virtues’ of boys and girls of Rumuokoro, with ODUMODUBLVCK on the chorus, singing over UCEE’s exquisite production;
“Rumuokoro boys, they are very woski
Rumuokoro boys and girls, Rumuokoro girls, they are very deadly”
Track 10: Zero to Hero/Amebo Tweet
The outro is a suite, composed of two parts. Zero to Hero is more of a victorious chant detailing how many people didn’t believe in AntiWorld in the beginning but now have overcome all the odds to be at this level. Essentially, they’ve gone from zero to being heroes. It was clearly stated in Reeplay’s verse, where he rapped on the Mizzle-produced beat.
“…when we start, plenty people no bin rate us…”
“…sorry o, the price don go up like. Like fuel…”
Amebo Tweet on the other hand tackled online trolls and keyboard warriors, with ODUMODUBLVCK and Reeplay taking turns to melodiously ridicule online haters. This part of the track was produced by the producer collective 44dB.
Modu rapped;
“with their 5MB na okpata full their mouth/check the capper, na zero for bank account…”
Reeplay rapped;
“twitter fingers on the net, on the world wide web, real life you go collect…”
It’s a victory lap in the typical Nigerian version; waving the finger at your enemies and telling them to do their chicken-hearted worst.
Conclusion
For a sophomore album, NOTHING CHANGED is a statement. It is an exceptionally good body of work! AWG managed to give club bangers, drill rap, conscious rap and okporoko music all in one album. The artistry of the individual members of the gang is put on full display. ODUMODUBLVCK, with his genre-bending vocals, melodies, and hard bars. Reeplay, with his clever word plays. Shagba, with what I can best describe as down to earth delivery of witty lines. Agunna, with his hard hitting bars, and Fatboy E, with his direct and sometimes droll lines.
Many collectives fade out after the first year, talk more of lasting almost a decade. But not the AntiWorld Gang! Hopefully, they defy the odds, stay together even longer, and give us more projects. Long live the Gang!
Olokungbemi Gerald
