Roughly six years ago, one of the most unlikely stories in the music industry happened when Bloodywood started its rise to fame. The nu-metal band from India started releasing music that touched audiences’ ears and hearts, slowly growing its name and brand through a purely grassroots means. The excitement over the band eventually reached its peak in2022 when all of the music the band had released to that point was culled in its debut album, Rakshak. That independently released record was just the next stepping stone in the band’s meteoric rise to fame. With the release of its sophomore album, Nu Delhi late last month through Fearless Records, the band further cemented itself as one of the leaders of the current age of hard rock and metal. As with Rakshak, that is proven both through its musical and lyrical content, ‘Bekhauf,’ one of the album’s singles, does well to support that statement. ‘Halla Boi,’ which opens the album, is another example of how the album’s overall content makes it a success. Yet one more example of that strength comes in the form of ‘Dhadak.’ When this song and the others are considered alongside the album’s singles and the remaining content, the whole therein makes Nu Delhi a powerful, successful second full-length outing from one of hard rock and metal’s current leaders.
Nu Delhi, the sophomore album from Bloodywood, is a solid new offering from the band. Even being only the band’s second full-length studio recording, it further cements the band’s place among the upper echelons of the current hard rock and metal community. That should be no surprise considering the album was self-produced by the band (more specifically by guitarist Karan Katiyar. Katiyar’s attention to detail in each of the album’s arrangements has taken the familiar Indian elements from Rakshak and balanced them with a much heavier sound from the opening of the album to its end, and even a new sound. Case in point is the album’s single, ‘Bekhauf.’ Yes, there are some traditional Indian instruments incorporated into the song, which also features a guest appearance by Babymetal, but the song also incorporates a prominent keyboard line that adds a nice touch. Vocalist Jayant Bhadula’s guttural screaming delivery pairs with the keyboards and overall heaviness of the guitars and rhythm section to make the arrangement so immersive, and in turn, powerful. Again, this is new approach is thanks to the band self-producing the album. It allowed the band to take things in its own creative direction.
Lyrically, the song is just as accessible as it is musically. That is because it delivers a familiar message to audiences. Upon the single’s release, the band explained the song’s lyrical theme, noting that “‘Bekhauf’ means ‘fearless’ in Hindi. “It was born out of the realization that fear can be seen as a choice, and that choice is our own. It’s about using this knowledge to take control of our fears and eliminate the side of them that holds us back.” This is a message that is right in line with all of the positive, uplifting messages presented throughout Rakshak. From dealing with bullying peacefully, to dealing with grief from loss, and more, those themes are right there with this presentation. When this welcome message is considered alongside the intensity of the song’s arrangement, the whole makes ‘Bekhauf’ just one of the examples of how much Nu Delhi has to offer. ‘Halla Boi,’ the album’s opener, is another example of that strength.
As with ‘Bekhauf,’ Halla Boi’ shows more of the growth from the band (again thanks to that self-production) but with plenty of familiarity of the sound from Rakshak. The electronic elements, the almost death metal style growls from Bhadula at points, and the general sound makes this song’s arrangement fully immersive and impacting from beginning to end of its five-and-a-half-minute run time.
The impact of the song’s musical arrangement is enhanced when that content is coupled with the song’s lyrical theme, which is yet another uplifting message of perseverance. In this case, the them is of perseverance from the aspect of personal growth and empowerment. This is made clear in the song’s lead verse and chorus, which state, “I am the will of a billion/I’m a monster born of dominion/I am the skill of resilience/Bigger than the power/Motherfuck your opinions/I was born of the brilliance/Born of the blood of everyday civilians/I am the unbroken/On the rise/With the three eyes open/There is blood in this moment/Yes, this ink to write the story/In this moment of blood/This lost story is hiding somewhere.” Raoul Kerr’s message is clear in the verse’s primary body. Bhadula’s note in the verse’s secondary portion that “this lost story is hiding somewhere” builds on Kerr’s message, reminding listeners that their story is unwritten but is there. It continues that message of self-empowerment. Kerr continues that positive message in the song’s second verse as he writes, “I was never built to be contained/I was built for the breaking of all the chains/I found the power in all the pain/Unbound like lightning in the rain/I feel the fire in all my veins/never kneel/I be giving you all my flames/I am the unbroken/On the rise/With the three eyes open.” Again, this is that continued message of self-confidence and empowerment. This positive, uplifting message is certain to resonate with listeners just as much as that in ‘Bekhauf’ and any of the album’s other singles, and when it pairs with the song’s musical arrangement the whole therein once again makes clear why Nu Delhi is another strong offering from Bloodywood.
As noted, there are so many songs featured in this record that make the album successful. Yet one more example of the album’s strength comes in the form of ‘Dhadak.’ The song’s musical arrangement presents, once again, plenty of the familiarity of the band’s debut album. At the same time, there is some growth noted here. The balance therein creates another work that audiences will find fully engaging and entertaining.
The song’s lyrical theme is one more equally familiar presentation that encourages listeners to once more not give up. This as Kerr states, “I get older/Feel the weight grow on my shoulder/I don’t back down, baby/I get bolder/Still there/Even if it gets colder/One for all/Yeah/I will die a solder.” He adds in the song’s second verse, “Turn the pain into the power/Puttin’ in the minutes/I be bigger by the hour/All out livin’/I ain’t ever gonna give in/I be aimin’ for the stars/Forget the top of the tower/let the muscle hit the metal/’Cause I’m in love with the sound/let the pedal hit the floor/’Cause we ain’t f***in’ around/If you’re lookin’ for the treasure/That’s hidden within the pounds.” This is pure, proud defiance and perseverance. This is a message of empowerment that as with so many of the songs, is certain to resonate with audiences. When this message is delivered alongside the song’s equally infectious musical arrangement, the whole therein makes ‘Dhadak’ yet one more example of how much Nu Delhi has to offer audiences. When it is considered alongside the other songs examined here and that whole along with the remainder of the album’s entries, the whole leaves Nu Delhi a solid, successful new offering from Bloodywood and one more fully welcome addition to this year’s field of new hard rock and metal albums.
Nu Delhi, the recently released sophomore album from Bloodywood, is a solid new offering from the band. While only the band’s second album, it is a work that continues to cement the band’s place as one of the leaders of the current breed of hard rock and metal acts. That is proven through its musical and lyrical material. The singles that the record has produced do plenty to make that clear. They are not the only songs that make that clear. There is plenty of other content that serves just as well to make that clear, as is proven through the songs examined here. All things considered the album in whole proves itself one of this year’s top new hard rock and metal albums.
Nu Delhi is available now through Fearless Records. More information on the album is available along with all of Bloodywood’s latest news at:
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