There is absolutely no risk of second album syndrome hitting Bloodywood as they come flying out of the gates with "Halla Bol", showing that not only have they refined their unique style, but enhanced it. The Indian instrumentation feels more bedded in this time around - still noticeable and integral to the sound, but a more natural fit, destroying any notion that this is little more than a gimmick that will wear out its welcome. There is no slowing down throughout the album's 9 track run, with each track hitting with you with a fresh aural assault.
That's not to say this is a one-note album. Each track has its own feel and adapts different influences. "Dhadak" is an underrated gem and shows off Raoul Kerr's rapping, while the stomping "Hutt" is a lets harsh vocalist Jayant Bhadula take centre stage and "Kismat" is more of a showcase for their more melodic side. Multi-instrumentalist and mastermind behind the music, Karan Katiyar, may downplay his own ability in interviews, but his songwriting is the perfect platform for the two vocalists to bounce off each other in different ways, each getting their own tracks in the spotlight while also not overpowering the other vocalist. While the lyrics are mainly covering topics surrounding mental health, personal struggle and overcoming them, it doesn't mean they're not allowed to have some fun - "Tadka" takes a detour from the album's main themes to sing about Indian cuisine.
The interplay reaches another level once "Bekhauf" hits with the introduction of guests Babymetal. While the Indian instruments take a back seat in favour of a more electronic flavour, the intensity of the track is unmatched and the Babymetal trio of Suzuka Nakamoto, Moa Kikuchi and Momoko Okazaki fit the track seamlessly, matching everything Bloodywood throw at them. The result is the undisputed highlight of the album. And that's up against some pretty stiff competition, with the title track "Nu Delhi" closing the album with the same energy and gusto that they started with. It's the track that feels closest to the material on debut album Rakshak, but with the sense that they've taken on board everything that worked with the previous outing and upped it all by another level, further refining it all.
The only real complaint to have with Nu Delhi is that, with only 9 tracks, you find yourself wanting more. While it's clear that Karin and co have opted for quality over quantity, the album flies by and stops just short of truly satisfying that itch that it scratches.
Rock isn't dead, it's just evolving. Those who refuse to adapt will fall by the wayside, while the newer artists pushing the boundaries will be the genre's flag bearers in the coming years. Bloodywood are only just getting started.
Nu Delhi is out now via Fearless Records. Stream and buy the album below.
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