Review: JD Garrahy
Tired of the same old regurgitated metal that seems to be hitting the scene these days? Don’t like the gimmicks that seem to be the only way a band feels it can get ahead? Remember when metal was metal, and bands strived forward on their talents and merits? Pepperidge Farms remembers, and fuck it, so do I dammit! Its time to usher in some fresh soundscapes and really get excited about it all over again.
I have been VERY interested to hear the latest offering from Bloodywood, India’s most prolific metal band, after seeing a plethora of reaction videos doing their cycles through social media. Does it disappoint? Not one bit. Not even in the slightest. What is on offer here is not only a great display of how metal transcends cultures, but also an incredible display of multi-instrumental prowess and vocals that would make even the most seasoned vocalist sit up and take notice.
It and foremost, the opener to this epic offering is very true to culture with traditional instrumentals and vocals kicking things off. But really, that’s just here to lure you into a false sense of security as to what is about to assault your eardrums. Opener Halla Bol is an anthemic thing of beauty and I think it’s safe to say with this track alone, you can take Nu Metal and put it to rest, now is the time of Nu Delhi (yes, that is the title of the album as well). Following the opener with Hutt, like other metal bands holding to their cultural heritage, Bloodywood mix their traditional methods with their metal influences and really, it makes for a fresh sound that I didn’t even know was missing from my life.
The next 3 tracks seamlessly progress the band’s sound perfectly, make no mistake, Dhadak, Bekhauf & Kismat are what this band is all about. Not only capitalising on their ancestry and traditional musical influences, but on track Bekhauf, collaborating with Japanese powerhouse BABYMETAL makes it really stand out. Give me every bit of non-western led metal collabs for the foreseeable future, its really put a spring in my step and made me excited as to what lies ahead.
Daggebaaz has every bit of feel of western metal, but the moment the intro stops, and the real sound kicks in, its clear to see that Bloodywood wants their multi instrumentalism put to the front and test the waters in the same breath. They’re here to take no prisoners and really show just how good the talent in India truly is. Tadka keeps the feel alive and is the track that really makes me ultra excited for the future of metal. Equal parts awe-inspiring and brutal, the New Delhi locals just annihilate all stereotypes and expectations and show that its not about the westerners anymore, the eastern contingent has entered the game, and they’re here to fuck shit up.
Closing the album with title track Nu Delhi, the feel of this song is just incredible. Utilising traditional vocals and instruments, this is what one would expect from India’s most iconic metal band. But please, reserve your opinions to what you think it should sound like, because everything is thrown out the window the moment the metal kicks in and it’s an audible smorgasbord of different sounds, flavours and all around savagery. Give me so much more of this!
Now, how am I supposed to sum this album up? Well, it truly is in the ear of the beholder. You can choose to shun it and not acknowledge it (you’re an idiot if you go down this pathway), or, you can choose to embrace it (a much more sane and reasonable idea really). Realise that without bands like Bloodywood pushing the boundaries of what metal could be and really giving it the flavour of their culture is precisely how our genre needs to evolve. It’s time for the age of Nu Delhi metal, and to put Bloodywood at the front of this incredible sub-genre where they rightly deserve to be.
BLOODYWOOD NEW ALBUM NU DELHI OUT MARCH 21 VIA FEARLESS RECORDS
