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Angry Metal Guy<a href="https://www.angrymetalguy.com/bloodywood-nu-delhi-review/" rel="nofollow noopener noreferrer" target="_blank">Bloodywood – Nu Delhi Review</a>By KenstrosityIndian nu-metal upstarts Bloodywood deserve every ounce of success they’ve garnered since their early days as a cover band. 2022’s <a href="https://www.angrymetalguy.com/bloodywood-rakshak-review/" rel="nofollow noopener noreferrer" target="_blank">Rakshak</a> was a resounding proof of concept for the band’s original material, effortless and enthusiastic in its uplifting and wholesome messaging delivered through a smooth blend of Indian folk instrumentation and nu-metal aggression. Since then, Bloodywood rapidly gained recognition worldwide, acquiring a contract with Fearless Records, and even earning the distinction of first Indian metal act to hit Billboard charts. For many of our readers, that might spell an ill omen. But it leaves me overjoyed to experience what follow-up Nu Delhi has to offer.Thankfully, Bloodywood hasn’t touched their core approach. Nostalgic nu metal reigns supreme just as before, bolstered by the region’s traditional instrumentation, which is represented most in the percussion, string, woodwind, brass, and vocal sections. Gruff, rapid-fire raps constitute the rhythmic backbone of Bloodywood’s trademark dueling vocals, while soaring, gravelly cleans and caustic screams provide the melodic and metallic sinew that connects verse to chorus. A renewed focus on pervasive hooks, swaggering riffs, and tight songwriting allows many, if not all, of Nu Delhi’s eight songs to stick even as its 33 minutes fly by. Above all, Nu Delhi is fun, and that’s all I needed from Bloodywood’s follow-up to a breakout record like Rakshak.Against the established convention, lead single “Nu Delhi” closes this record, encapsulating everything Bloodywood does well, with a satisfying wiggle and groove personifying its almost djenty riffsets. The song may be simple and straightforward, but it gets stuck in my head for days at a time. Such is my affliction with all of Nu Delhi’s best cuts, the highest watermarks of which are the center one-two punch of “Bekauf (ft. BABYMETAL”) and “Kismat.” I did not have “enjoying a song with a BABYMETAL feature” on my bingo card this year, but here we are; the song simply rocks. Furthermore, hearing how much more mature BABYMETAL’s vocalist(s) sounds here is a breath of fresh air. “Kismat” takes the hype “Bekhauf” generates and doubles down with incredible confidence. Serious bars trade blows with one of the album’s best choruses, supported by the album’s strongest guitar, synth, and drum work. Delivered with tons of passion, these cooperative contributions culminate in an exciting bout of aggro fun that carries through Nu Delhi’s conclusion. As an added note, I appreciate the uplifting, empowering message Nu Delhi delivers. Without a sheet to help me through the Hindi lyrics, I can still confidently say Nu Delhi is an album about believing in yourself, not giving in to hate or hatred, fighting corruption, supporting your community, and pushing forward to leave those who would rather see you fail back at the starting line. I need messages like this one in my music, now more than ever, so I extend my thanks to Bloodywood for bringing it.All that said, Nu Delhi lacks a true showstopper. Rakshak has the inimitable “<a href="https://www.youtube.com/watch?v=2bldupcptbE" rel="nofollow noopener noreferrer" target="_blank">Yaad</a>,” an unqualified triumph of a song that easily snagged my Song o’ the Year in 2022. No such ultra-banger exists here, much to my chagrin. Nu Delhi is more consistent in overall song quality in a valiant attempt to offset that shortcoming, but other small nitpicks conspire to bring the end product down just a smidge from its predecessor. An example, opening duo “Halla Bol” and “Hutt” are the most “forgettable” selections of the set, their hooks and riffs not quite as sharp as those of its stronger album-mates. Elsewhere, all of Nu Delhi’s traditional instrumentation finds better integration with metallic elements, indicating improvements in mixing. However, the album still sounds compressed to bits (though it is hard to be certain when evaluating a stream promo). As a final nitpick, I would like to see these English lyrics massaged a bit further. Rap and hip-hop live and die by the verse, and there are moments where Bloodywood toe that line too closely with some awkward phrasing (“Tadka”).In accordance with <a href="https://www.angrymetalguy.com/author/thekenword/" rel="nofollow noopener noreferrer" target="_blank">my mission statement</a> of “destroying AMG’s metal cred from within,” I award Bloodywood another positive score. Largely circumventing the dreaded “sophomore slump,” Nu Delhi is a worthy successor to the addicting Rakshak. It may not have that list-topping song that would push Nu Delhi to the next level, but its high fun factor and consistent quality make a compelling value statement for 33 minutes of your time. Nu metal detractors need not venture here, but I invite everyone else to gather ‘neath the Bloodywood tree, for we rejoice in the rise of Nu Delhi! Rating: Good! DR: Streaming Bastards Get No DRs | Format Reviewed: Stream (BAD LABEL! BAD!) Label: <a href="https://fearlessrecords.com/" rel="nofollow noopener noreferrer" target="_blank">Fearless Records</a> Websites: <a href="http://bloodywood.bandcamp.com/album/nu-delhi" rel="nofollow noopener noreferrer" target="_blank">bloodywood.bandcamp.com</a> | <a href="http://bloodywood.net" rel="nofollow noopener noreferrer" target="_blank">bloodywood.net</a> Releases Worldwide: March 21st, 2025<a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/bloodywood/" target="_blank">#Bloodywood</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fearless-records/" target="_blank">#FearlessRecords</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/folk-metal/" target="_blank">#FolkMetal</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/groove-metal/" target="_blank">#GrooveMetal</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/indian-metal-metal/" target="_blank">#IndianMetalMetal</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mar25/" target="_blank">#Mar25</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nu-delhi/" target="_blank">#NuDelhi</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nu-metal/" target="_blank">#NuMetal</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rap-metal/" target="_blank">#RapMetal</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a>

History is a GiftAfter two previous marches marked by assaults and other obstacles, civil rights activists, including Martin Luther King, Jr., complete a 4-day 50-mile march from Selma to Montgomery, Alabama, under the protection of federally-mandated troops <a href="https://mastodon.art/tags/OTD" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#OTD</a> in 1965. These marches greatly increased the political pressure that led to the passage of the Voting Rights Act later that year.Today's art is by John Hopkins: <a href="https://www.alabamanews.net/2015/02/27/max-credit-union-donates-selma-to-montgomery-march-painting/" rel="nofollow noopener noreferrer" target="_blank">https://www.alabamanews.net/2015/02/27/max-credit-union-donates-selma-to-montgomery-march-painting/</a><a href="https://mastodon.art/tags/history" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#history</a> <a href="https://mastodon.art/tags/histodons" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#histodons</a> <a href="https://mastodon.art/tags/USA" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#USA</a> <a href="https://mastodon.art/tags/CivilRights" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#CivilRights</a> <a href="https://mastodon.art/tags/HiaG" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#HiaG</a> <a href="https://mastodon.art/tags/Mar25" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Mar25</a>

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