ALBUM REVIEW: “Nu Delhi” by Bloodywood
Bloodywood are an Indian heavy metal band formed in 2016 and from New Delhi. Formed by multi- instrumentalist, producer and composer Karan Katiyar and vocalist Jayant Bhadula they started out as a YouTube channel featuring metal covers of pop songs, and it grew from they, and they developed into producing their own material. As a result they’ve become the first Indian band to chart on Billboard.
The bands current line up is Karan Katiyar (Guitar & Flute), Jayant Bhadula (vocals & growls), Raoul Kerr (rap vocals), Vishesh Singh (drums), Roshan Roy (bass) and Sarthak Pahwa (dhol).
Tomorrow (Friday 21 March) sees the release of their latest album “Nu Delhi” just as they hit our shores on the UK leg of their “Return of the Singh” tour. Almost all dates are now sold out, with a few tickets left for the Bristol show.
Bloodywood is metal, and bloody good metal it is too, but they mix styles so well in their music: heavy, nu-metal, and rap, but mixed into maelstrom, is a traditional influence that shines through - the Indian folk rhythms and influence entwined into the mix and amplified with the effective use of traditional instrument such as the dhol (double skin drum). The use of dual vocals is also incredibly effective. Instead of the usual clean and growl, here we have Raoul delivering the rap style vocals, with Jayant providing us with a mix of beautiful Indian folk lyrics and deep powerful growls. The two work perfectly together – the variety between the two matching, and complimenting perfectly he same mix in the musical structure.
Nu Delhi is an album packed full of raw powerful hooks and tracks that are so damn catchy. The structure of the songs is rich and complex with multiple layers for the listener to dive into and explore. Vishesh’s drumming is a real standout feature, with sections where the fast double bass drum pedal work shines through. It’s complimented so brilliantly by the dhol playing from Sarthak, that adds a different and thoroughly enjoyable element to the rhythm section.
Showing that wide range of metal styles and influence, opening track Halla Boi starts with a traditional sounding chant (in Hindi?) with a simple flute, before the drums kick in and it builds in ferocity, developing a distinctly metalcore vibe to it with fast aggressive lyric delivery. It throws a right hook right at your ears and sets you up for what’s to come.
From here we move on into Hutt with some real dirty death metal riffs. Raoul delivers the chorus in English which takes us into a where Jayant leads us with a chant set against these raw death metal guitar riffs. I can just see waves of fans in the pit chanting along, headbanging with horns in the air. Its built to be a live classic. A song about standing up and defeating the haters, its one of my favourites on the album.
The chaotic and brutal sound continues with Dhadak, where the dhol takes centre stage in the beat. Raoul’s clear rap is again impressive and leads smoothly into Jayant Bhadula traditional Hindi chorus, before they combine is a growling and powerful section again built to be joined in with. What I found most impressive here was how smoothly they can transform from raw energy, pace and power, to delicate and intricate, and right back again.
Bekhauf hits differently altogether and as it sparks to life with its electronic elements, you’d be mistaken for thinking you’d swapped albums and put on the latest Babymetal. Well, you’d kinda be right, as Babymetal join for this one and Su-metal’s voice gives the song something very different a sweet, softer female element found nowhere else on the album. It has that Japanese anime feel to it, but here we have three styles metal, Japanese and Indian styles and influences all mixed together…. And you know what ? It’s stunning.
Bekhauf has that superhero feel (check out the video) and focuses on fearlessness, as Jayant sings:
“No force can restrain me; Every stride is firm and sure. I conquer every battle, Fearlessly. There’s a quiet section with keys and a stringed Japanese instrument (like a koto?) that creates a sense of calm amidst the turmoil. The styles don’t clash, they compliment each other perfectly and create something very special indeed.
Kismat is another great track with huge riffs and a massive hook. The ferocity is dialled back a bit and it has a glorious anthemic feel to it.
For all the highlights so far, perhaps my favourite is Daggebaaz which has some stand out rap lyrics that seem to have more of an edge to them and a deeper tone than on the previous stracks. There’s also a more industrial feel to it. The folk chorus sections are again another highlight this time with a clear wind instrument giving it a different edge (pungi ?). Top top stuff.
As the album draws to a close the final two songs have a different vibe to them, in sound and/or subject matter. First up is Tadka which is about the beauty of Indian cuisine! But hear me out – this isn’t some kind of cheesy rubbish. Mixed in with the lines about food and eating well, the lyrics feel like they deliver a wider message with lines like “It's a battle with the blandness, we gonna win it, even though we didn't plan this. Put your hands up if you really understand this, if you got the fire inside the belly then we gonna fan this”.
Its like the lyrics are saying that where Indian cuisine is spicy and rich in flavours, its exciting and daring, and that’s how we should approach life – push back against the bland, live ife and experience it ! Light that fire in your belly and revel in it !
But above all else, its an incredibly enjoyable and listenable track. A great rhythm that just draws you in and has you moving to the beat.
The final track is Nu Delhi a tribute to their home city. It’s a firecracker of an anthem, a rich powerful beat, dominated by the dhol over which the rap verses and a massive chorus sit perfectly. With the folk vocal sections and heavy effect driven riffs its chaotic and huge, almost giving a sense of the scale and mayhem of a city that size. Perhaps the track with the most Indian cultural influence in its sound, which is perfect for its subject matter.
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.
No one could have predicted that traditional Indian rhythm would have blended so perfectly into metal, but even more astounding is the verve and power with which Bloodywood have brought it all together on ‘Nu Delhi’.
Metal is a growing genre in India, and Bloodywood are right at the forefront of its development. There is no novelty act feel here, just quality metal, with its own unique cultural influences. And I have to say, there is something quite magical about the blend of traditional Indian instruments and rhythms and bare-faced raw metal. They just fit – like a hand in a glove. And when you add the rap lyric elements, the three are just…… well, WOW !
Bloodywood have the makings of a real force on the metal scene. “Nu Delhi” is a great album, and a thoroughly enjoyable listen, thoroughly deserving of a 9.0 from LiveWire Music.
A band I NEED to see live……
“Nu Delhi” from Bloodywood – out Friday 21 March 2025
