Bloodywood is back, and they’re bringing the heat with their latest album. If you thought Rakshak was a statement, Nu Delhi cranks things up to a whole new level. These guys aren’t just making music—they’re redefining what Indian metal can be, blending folk, rap, and straight-up crushing riffs into something that hits hard and sticks with you. The album drops on March 21 through Fearless Records.
Right out of the gate, the title track Nu Delhi sets the tone. It’s a love letter to their city, but also a flex on how far they’ve come. Bloodywood has honed their sound—big, aggressive, and laced with traditional Indian elements that make them stand out from anyone else in the game. Jayant Bhadula’s raw, thunderous vocals paired with Raoul Kerr’s rapid-fire rap verses make for a lethal combo, while Karan Katiyar’s signature flute work cuts through the heaviness like a blade.
Lyrically, they don’t hold back. Halla Bol dives into moments of resistance and defiance, while Hutt is all about shutting out the negativity and owning who you are. These guys have always had a strong message, and this album keeps that energy alive. The language mix of Hindi, Punjabi, and English makes it accessible to a global audience, and honestly, it just sounds badass.
Then there’s Tadka—a full-blown banger about Indian food. Yeah, you read that right. It’s loud, it’s fun, and it proves that these guys can take any subject and turn it into an anthem. On the flip side, Bekhauf (featuring a guest artist) brings a powerful message about fearlessness, with Jayant belting out some of his most passionate vocals yet.
Musically, Bloodywood is firing on all cylinders. The mix of crushing guitars, pounding dhol beats, and soaring flute melodies gives every track its own flavor while keeping the album tight and cohesive. Katiyar’s production is next-level, making sure every song hits like a sledgehammer while still carrying that folk-metal soul.
Bottom line: Nu Delhi is a beast of an album. It’s bold, it’s fresh, and it proves that Bloodywood isn’t just here to play—they’re here to take over.
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