For decades, metal has connected with people far and wide. People from various backgrounds and cultures have put their spin on metal in that time. It often results in a cultural clash of predominantly Western songwriting mixed with local influences. That’s one way of describing what Bloodywood does. The Indian metallers have become one of the genre’s most talked about acts in recent years, and as they return with their second album, ‘Nu Delhi’, it’s easy to see why.

The eight new songs that the sextet offers confidently thrive in crushing rap-metal with regional elements weaved in throughout. However, when compared to 2022’s ‘Rakshak’, the chaotic energy is taken to another level. For example, the opening track, ‘Halla Bol’ cinematically gallops with Indian folk before erupting like a ball of fire. Driven by djent guitars and flashes of whirlwind electronics, it’s a thrilling introduction that sets the tone for the rest of ‘Nu Delhi’. ‘Hutt’ is a fist-pumping charge that sees Bloodywood stand up for themselves, confronting any negativity thrown at them. A wiry sitar provides a brief respite before romping home to the song’s finale. ‘Dhadak’ maintains the momentum, embracing nu-metal tendencies with a KoRn-esque bite. Karan Katiyar’s buzzsaw guitars, Vishesh Singh’s domineering drums, and Sarthak Pahwa rattling dhol drum thrive off Jayant Bhadula’s menacing vocals.

It’s no surprise their collaboration with BabyMetal, ‘Bekhauf’, is a pure joy to hear. Bringing together their distinctive take on metal, Su-Metal’s harmonious voice and pulsating electronic complement Bhadula’s roaring voice, Raoul Kerr’s rapid delivery, resulting in a thunderous metal tornado, delivered in English, Hindi, and Japanese. It has to be noted Bhadula and Kerr brilliantly bounce off each other through the album.

‘Kismat’ sees Kerr offer a soaring chorus that matches Bloodywood‘s ascending ambitions. Like throughout ‘Nu Delhi’, the use of Indian folk instrumentation adds texture and colour to the crushing metallic weight. Its closing title track pushes this further with a flute and Pahwa’s dhol, and Raoul Kerr’s Hindi vocal flourishes battling with Vishesh Singh’s pummeling drum work, Jayant Bhadula’s screams, and Karan Katiyar’s destructive riffs. While themes of self-validation (‘Halla Bol’) and fearless mentality (‘Bekhauf’) emphasise a serious and united front, the New Delhi-based band also celebrates their culture. ‘Tadka’ is a love letter to Indian cuisine, celebrating how it brings communities together, but more importantly how good it tastes.

Overall, ‘Nu Delhi’ is without any filler, constantly delivering a flavoured brand of metal that is far from being novel. It’s a credit to Bloodywood for sticking to their roots and combining it with a genuine heavy execution that is coherent. It results in ‘Nu Dehli’. being a digestible blast that grows with each listen. A colourful and chaotic collection that shows Bloodywood have staying power.

‘Nu Dehli’ by Bloodywood is released on March 21st 2025 on Fearless Records.

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