{"id":98475,"date":"2025-03-20T11:00:34","date_gmt":"2025-03-20T11:00:34","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=98475"},"modified":"2025-03-19T22:22:21","modified_gmt":"2025-03-19T22:22:21","slug":"review-bloodywood-nu-delhi","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/review-bloodywood-nu-delhi\/","title":{"rendered":"Review: Bloodywood – Nu Delhi"},"content":{"rendered":"

\"BloodywoodFor 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\u00a0Bloodywood\u00a0<\/strong>does<\/span>. 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,\u00a0‘Nu Delhi’<\/em>, it’s easy to see why.<\/p>\n

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\u00a0‘Rakshak’,<\/em> the chaotic energy is taken to another level. For example, the opening track, ‘Halla Bol’<\/em> 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\u00a0‘Nu Delhi’<\/em>. ‘Hutt’<\/em> is a fist-pumping charge that sees\u00a0Bloodywood<\/strong> 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.\u00a0‘Dhadak’<\/em> 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.<\/p>\n