Bloodywood - Nu Delhi (Album Review)

Bloodywood - Nu Delhi
‍Released: March 21, 2025

Line Up

Raoul Kerr // Rap Vocals
Jayant Bhadula // Vocals, Growls
Karan Katiyar // Guitars & Flute
Vishesh Singh // Drums
Roshan Roy // Bass
Sarthak Pahwa // Dhol

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Few bands have quietly captured the metal community’s attention like Bloodywood. Their second album Rakshak (2022) increased their profile dramatically, popping up on the USA Billboard album charts supported by a festival run that included Download (UK), Hellfest (France), Summer Breeze (Germany), Fuji Rock (Japan) and Aftershock (USA). This new album, their third, is the first for Fearless Records and comes with a fair expectation that Nu Delhi will satisfy fans and continue their rise up the metal ranks. The great news is that their brand of nu metal / folk energy hits just as well as it ever has. 

If nothing else, their growing popularity has led the band to double down on what makes them so appealing. The tracks are full to the brim with fat riffs that bounce and groove along with Karan Katiyar’s flute. It isn’t a straight repeat of the tunes on Rakshak, with opener ‘Halla Boi’ bringing a metalcore vibe. It’s got multiple breakdowns and a harder edge to the rap vocals. It establishes more variety in the song structures, which helps the obvious live favourite ‘Hutt’ too. The final bridge on ‘Hutt’ briefly touches on death metal drumming. The chorus stands out because it is both melodic and in English. 

The chaotic style of ‘Dhadak’, led by Raoul Kerr’s clean rapping and Jayant Bhadula growling the Hindi chorus, is more in line with their debut. ‘Kismat’ might start like a Bollywood pop song but soon gives way to a huge riff and massive hook. 

‍‘Bekhauf’ is even more insane with a faster tempo and electronica influence and then you realise why - they’ve brought Babymetal in to up the fun factor. Su-metal’s voice gives the song something different and there’s a quiet section using traditional instruments that is a nice reprieve from an otherwise energetic anthem. The clash of styles is cathartic even if it doesn’t quite reach the awesome highs of Babymetal’s Electric Callboy collab 'RATATATA'. Bloodywood save some of their best tunes for the end, with the industrial infusion of ‘Daggebaaz’ highlighting the pit-ready nature of the album. Kerr spits his rhymes with more rasp, with the bridge dipping back to the Indian folk style, before a banger of a chorus. The growls are seriously raw with a guttural tone that’s somehow easy to roar along with.

It’s the final two songs that left me a bit confused. The band often tackle serious subjects, with some hip hop boasting on the side, but ‘Tadka’ is quite literally a tribute to Indian cuisine. There’s a couple of ripping rhymes but it’s not a very metal lyrical concept. It’s cheesy but also one of the catchiest songs even when it ends with a post curry burp. First single ‘Nu Delhi’ ends the album, the same way it’ll probably close their gigs. It’s a powerful anthem that is arguably the most Bloodywood song ever - knock out rap verses and a massive chorus, with guitar riffs intertwined with flute and percussion.

Bloodywood have served up a spicy dish with Nu Delhi. It’s got all the flavours you love from their last LP but with a few new ingredients to keep it fresh. It moves them beyond novelty territory and establishes them as a key gateway band into Asian metal. 

Now, who wants to place bets on them appearing at Good Things Festival at the year's end?

Rating: 8/10
‍Nu Delhi is out March 21, 2025 on Fearless Records. Pre-order here. 
Review by KJ Draven (Instagram & Threads)