After taking the world by storm with their first album, Rakshak, India’s Bloodywood have returned with their second album in Nu Delhi. The fusion of elements from metal, nu-metal, hip hop, alongside folk instrumentation have allowed many to gravitate towards the act. Combining that fun and heavy musical approach with meaningful lyrical content, Bloodywood is doing their best to make a difference in the world around them. We spoke with vocalist Raoul Kurr about the band’s cover band origins, dive into all things Nu Delhi, discuss the band’s lyrical perspectives and love of anime, as well as the goals they are striving for.
Dead Rhetoric: You started off as a cover band turning pop songs into metal. Do you feel that led you to finding something that could be both fun and heavy at the same time?
Raoul Kurr: Definitely. The thing about the covers period was that it started out as a way of building an audience and exploring the sound. The fun that was had and the sound that was discovered, and the creation of our identity came from the covers. They were as much of an experimentation ground as much as they were to create a base. Once we had that, we released our first original songs. So the thing about it, that time period came with one goal. But the fact that we discovered our sound, grew the audience, and had it ready for a moment for our singles, it was a great time.
Dead Rhetoric: So from the beginning you wanted to do originals but you used the covers as a way of building your fanbase.
Kurr: I wasn’t a member of the band at that stage. I was watching as a fan and supporter. I also had fun watching the covers and it had that exact impact where I was laughing because I didn’t expect a song to be a metal song, but I was having a lot of fun and grooving to the songs as well. As a supporter, what I noticed was that the guys had a diverse support base. It was quite small at the time, but at the same time, there were listeners from all parts of the world. We all thought that if we did something big together, it could spread in multiple directions because there were already people from all sides of the world.
That’s what happened, with our last cover, “Ari Ari,” before releasing original music, and our first song together as a group, it was the time in which all the pieces came together. We had our sound and identity, and people enjoyed the music and stayed for what the band stood for. Right after that we released our first original song and we haven’t looked back since.
Dead Rhetoric: You caught significant hype with the release of Rakshak. What did you want to achieve with Nu Delhi coming off of that release?
Kurr: It’s all of the stuff you would expect from a second album in terms of wanting to push the limit. You already have a standard that you have discovered through the creation of your first album, so it was about how we could push beyond that and expand upon the ideas and the world we are building with our music. The next logical progression for us was Delhi. We are always trying, no not even trying, we do write from an Indian perspective when talking about world problems. Our point of impact is the world. We want things to be better or things to be eliminated altogether from global society.
The whole plan was to bring people together with our music, from all parts of the world, so that is exactly what we are working towards with this album as well. Because it comes from a personal point of view, it comes from an Indian perspective; the only way it could become more personal is if we were talking about the Delhi perspective. All of us are so deeply connected to the city. We were all raised here and it influenced who we became, and are, here today. So we wrote from the Delhi perspective, and it’s the capital of the country, so it’s an amalgamation of the country and what it represents in its own way. There are some things that are very Delhi in their own sense [laughs], we try to do it justice and put it across in the songs. I feel like everyone feels what we are trying to communicate.
The other thing that we wanted to do was give it a longer lifespan. This album has kicked off now, but there is a lot more to come, in terms of the music videos, which will be the album in its entirety. But we released three songs as singles beforehand, like last time. The difference is that last time we released three singles, started touring, and that was that. Which was fair, because it was more like completing the pictures that we had been creating with the singles over the years, and we put it all together and made an album. This is a new album from start to finish. It’s about releasing those three singles and getting everyone into it, then releasing the album as a whole, but now we will have more music videos to come out, and create a bigger picture. The story of this album doesn’t start and end here, it’s something that is going to continue and be woven into our tours, and that’s a significant difference to last album.
Dead Rhetoric: Could you specifically talk about the themes of unity and diversity that are prevalent in the music.
Kurr: It’s something that is the undertone of all of our music. What we are trying to do is bring people together. The subject matter is either relevant to us as a global society as a whole, or as an individual, and the battles we fight as an individual. It’s all aimed to create a positive impact on the world. It’s something that people relate to. We have seen that in the energy we are given back to by the audience. Our comment sections are some of the most beautiful sections of the internet that I have seen. If you had to find a nice place on the internet, it’s there. There’s always something going on. Sometimes someone might spread some negativity, but there’s an overwhelming sense of positivity and that’s also reflected in our live shows.
We had bartenders, unprompted, telling us that our audience was always the nicest group of people they had met. These were unrelated bartenders in unrelated cities in different parts of the world. We thought that was such a cool sign of what was happening. Bartenders are dealing with everyone packed together in an intense environment. They have a very unique judge of character, or a perspective, on the type of people who are there. For them to say that, it was a nice thing that added to our beliefs that we are on the right path. People are coming together and rallying behind the message. The end game for that is to be able to do things together and make even bigger impacts.
Dead Rhetoric: Is it ever challenging, knowing that you are speaking about social issues and politics, like do you ever feel like you shouldn’t say something? I feel like there has been a lot of back-pedaling in other parts of the metal community. Bands trying to stay out of politics because it could damage the fanbase.
Kurr: Yeah, I have seen that happen but for us it doesn’t play a part. The way that we try to put our music is in a way that everyone can get behind it. Even though we are taking shots and making strong statements, we are doing it with a sense in which I think everyone feels the music and it’s about looking for something that will benefit a large number of people. I don’t know anyone on any side of the political line that are okay with sexual assault. Maybe the predators, but it’s an overwhelming minority. Everyone can get behind something like that.
When we are talking about other topics, like separating religion and politics, it might be someone who is using it to their advantage, so they might be all for it. But I feel like the people who have that perspective of using religion to manipulate people into voting for us and doing what we want them to do, no matter what part of the world it’s in, they understand what we are talking about. Maybe they are using it, but do they agree with it or do they see it for what it is? I think that everyone can catch that sense of us trying to do something that is to the benefit of the overwhelming majority, for the world. I think that’s my way of explaining the lack of backlash or negativity towards our music. We are always going to say what needs to be said.
The one thing that gets lost in that, even though you may be coming from a different side of politics, like you said, bands are worried about getting political because they are going to alienate people that don’t align with their politics. That’s a risk you do end up running, but I would say the way of approaching it is to find a middle ground to people who are on the opposite political side. With the state of the world we are in, it calls for finding the middle ground. We need to work together, no matter how far apart we are politically. That’s what we are trying to achieve. We are also still growing. We aren’t in the global public eye yet. We are aiming for that level. But I think that so far it has been so positive, it’s a good sign for things to come. We are trying to look out for everyone. I really hope that’s something that everyone can get behind.
Dead Rhetoric: Given the messaging, how important is the sheer fun factor within the music that contrasts it?
Kurr: I feel like that wins a lot of people over. They see how much fun we are having, and it allows them to enjoy the musical side, if not align themselves with what we are saying. So even the minority of the people who may not agree with what we are saying, will have fun listening to it. It’s pretty fun and we have a lot of fun doing it as well. It’s a natural reflection of who we are and what we like to do.
Dead Rhetoric: Given the Delhi point of view, do you feel like torchbearers for the Indian metal scene at this point?
Kurr: I can see how it’s that way, for sure. The thing is, we are proud to do it. We know it comes with a responsibility and we do our best to live up to that. It’s pretty simple, if it feels that way, which I feel like it is. We just do our best.
Dead Rhetoric: Where’s the limit for what you could try to include in a song? Do you feel that there are any limits to the Bloodywood sound?
Kurr: Not really, because all of us have very different tastes. But we have a way where we overlap our tastes. It makes for a very interesting base for music creation. We are doing something different, and we all appreciate a wide variety of music. It all results in the sound that you hear. There’s nothing that we won’t try if it feels good and feels right.
Dead Rhetoric: Could you elaborate on the bond as you all share as bandmates?
Kurr: It’s very special. It’s a family of brothers. We have been living together in vans, and now buses, for months on end. Being nothing but chill and having fun and laughing all the time, we are having more fun due to each other’s company. It’s a testament to how lucky we are to have found the right people. It’s a really good group of guys, dedicated professionals. I met them later on in life, and it feels like destiny.
It’s a very pure and supportive environment that we have created. There was one time that looked like it could become a problem, which is hard to remember. The only reason I remember it is because it was such an exceptional situation. We ironed it out on the spot, or soon after. We never let anything fester. In the few moments it happened, we just squashed it.
Dead Rhetoric: Did the Babymetal collaboration lead to getting on this upcoming North American tour?
Kurr: It probably did, but it wasn’t clear to us in terms of cause and effect, yeah. I think it just expanded naturally. We did the collaboration and we liked working with them. We have always enjoyed the band before knowing each other professionally, so we definitely would have said yes. You can see how the sounds overlap and it would be a cool line-up. I would see it happening without, but it definitely happened because we did the collaboration.
Dead Rhetoric: What are your thoughts on nu metal and its recent resurgence in the music world.
Kurr: You know, I have been getting questions about this, and I’m someone who doesn’t really dive in and explore it a lot. I keep my fingers on the pulse if I like a track, then it goes on my playlist, but I’m more focused on making music. The thing is, when people tell me it’s coming back, I feel really good, that’s the thought in which Karan [Katiyar] decided to work on back then. We have known each other since before I was in the band, and we began to collaborate.
It felt like it belonged together, as well as using different instruments to include that aren’t in traditional heavy metal. It all felt like something that should work. Our thinking was that we missed that sound, so it would be cool to bring it back, but also to push it further if we can. That’s the mission we are on right now. Musically, it’s the sound we fell in love with and grew up with, and wasn’t around for a long time. If someone is going to bring it back, we definitely want to do that. I’m happy to know there is a revival going on and there are other bands doing the same thing. That’s great, it’s what we hoped for, and we are glad to be a part of it.
Dead Rhetoric: What are some of your favorite anime, and has there been anything that you have put into the music itself?
Kurr: As of now, the references are sneaking in. One Piece is something we are in different stages of. Karan hasn’t seen it, Jayant [Bhadula] is up to date with it, and I am on episode 200-and something. To catch a feeling of One Piece, and to have it be the act of chasing dreams and going beyond limits, that’s something we all really do. But the anime that will define all of us is Dragonball Z. it’s the OG, and what we started with.
The way that we used the word “Kaioken” had a very fun discussion around it. I really wanted to use it in a song, it sounded like a cool concept. The guys agreed, and we writing “Aaj,” which is about chasing your dreams and going beyond your limits and all that. It was full “kaioken,” and it was weird, it just happened on the riff and I said it. I knew what was going to happen after that. Our thinking was that it was so good we had to do it. If someone didn’t understand it, it wasn’t a problem, because it was one word. It just sounds hype, and we could let it slide and just enjoy the music. Whatever I was saying after was understandable, so that’s fine. But if someone was a DBZ fan and knows what “kaioken” means, it’s gonna hit like a truck. Sure enough, the comments were full of “kaioken,” “did he just say kaioken,” “fuck yea, kaioken,” it was so awesome yet unsurprising, the amount of support we got from the fanbase.
Apart from that, Attack on Titan is one that we are all very much in love with, and without any spoilers, the context of it. There’s a group of people called the Recon Corps, who go beyond the walls, which have been dead to humanity. They do it to fight, or scout titans, which are large humanoid characters that exist to just kill people. They always look down on the Corps and say that their job is pointless, like, why do they do it? Everyone looks down on them. I look at it like social work, like when people try to do things for the benefit of other people. It’s underappreciated, and people get put to the grinder trying to do it because there’s so much negativity in the world that needs to be fixed. They are like the Recon Corps who go beyond the walls of normal society to address the problems that are coming to kill and destroy us. That’s a big inspiration. Even then, the show is amazing, and for me, the best anime of all time. But it’s about protecting people you care about. For us, that’s the world.
I would say that applies to a lot of anime. Like the shonens, Naruto is also a huge one. It’s literally someone looking to create a better world. Create something that is better for everyone, and trying their best and working hard to achieve it. It’s something that is ingrained in us, and why we are such huge fans of anime and Japan, by extension.
Dead Rhetoric: If you were to hear someone describe Bloodywood to someone else, what do you would hope that they would describe the band like?
Kurr: I don’t think they would use this description, to be fair, but it’s more of a feeling that I hope they walk away with either listening to a song or a show. It’s possible to create the world that we are dreaming of. The world that exists beyond all of these challenges that are holding us back. That it is possible and doable. People probably aren’t going to be saying, “hey this band makes me feel like a better world is possible,” it wouldn’t be the first thing people would say. But it’s come out in a lot of different ways and we are happy with what people are saying, but that’s the feeling I hope they walk away with.
That music can be the way, we can have people all over the world coming together, at a time where the world needs it the most. We try to change things for the better. I hope that people walk away with a feeling of belief, more than a way of explaining the feeling and to share that with other people, and turn them onto the music.
Dead Rhetoric: You have shot up the ranks quite a bit since you started, what goals do you still have to achieve as a band?
Kurr: Our goals are sky-high. We are trying to stop and appreciate the moment a little more now. Usually when we reach something, we are gunning for the next thing, so we have started to appreciate things more. But at the same time, our goals are very high. We want to make metal mainstream like it used to be. We want to bring it to everyday households around the world. That’s a tall order and a big ask, so we are on our way but we have to work really hard and we are nowhere near that level.
Dead Rhetoric: But you have that base, which is grounded in a lot of things to appeal to people. It’s certainly not out of the realm of possibility.
Kurr: It’s very ambitious. That’s what I love about it. In the act of becoming a musician, you are taking a chance and taking a shot, trying to achieve an impossible shot. This adds another layer to it. It’s not just music, when I say music in the ears of the world, and to bring [metal] back to the mainstream, you can do something with that. You can do something with the fame, to achieve all of the things you have spoken about in the music. You bring it to life.
In a way, one thing I have realized in having these discussions, which is something I think we all aim for subconsciously, but it’s definitely happening, and has been since the first release: you being a teacher brought that part out…as a kid, who would listen to the musician they loved, for me, I would internalize a message from someone I looked up to, from a musical point of view more than I would from someone who just told me about it. Coming from a musician I admired, it would mean more. I think that was my thinking behind believing that music could make a difference, and why I think we all believe that music can have such a big impact. I want to find out how far you can take that. That’s what is happening with all the songs we have done so far.
If nothing else, the people who are still finding out who they are, who are listening to this music, it’s changing them and giving them a message at an age where they are ready to accept and absorb it. So for the young generation now and for those who come after, the music will come in a way that hopefully helps to eliminate things from society. They will think differently as a result, and then behave differently as a result. That will change the problems that we are facing today. So if we are the biggest band and could play to people all around the world, there would be an entire generation of people who are absorbing these messages. Even if the road is very long in terms of what we have to do to overcome these problems now, we try our best, but my point is that the music with its widest reach could help to eliminate problems long after we are gone.
Dead Rhetoric: So is that why it’s important that it is a positive message?
Kurr: It’s not about how important it is as it is who we are. We have so much to focus on and we won’t ever run out of subjects until our goals have been achieved and that world has been achieved: when the world becomes a better place. We will never not feel the need to be writing about it, because we want the world to be better. When it does, then that’s a good time to stop writing. Our task is done, then we can find some other subjects.
But we did go off into other subjects, where we talked about food on this album [“Tadka’]. We just had fun and we talked about the culture it had. A message slipped into it about appreciating the fact that you have food and have had the chance to experience good and consistent food throughout your life, but apart from that, it was about just the celebration of food. So we aren’t opposed to throwing a curveball out there.
Dead Rhetoric: You have the Babymetal tour coming up, what are your other plans for the rest of the year?
Kurr: We are going to be supporting Halestorm back in Europe and the UK. It’s going to be the first time we are supporting a band on tour. It’s going to be a different experience for us. We have always done headline shows. For us to have to warm the crowd up and really start the night off well, for Babymetal and Halestorm, it’s going to be cool. It will also be about winning over the hearts of people who are seeing us or watching us for the first time. It will be a different approach. It’s nice to keep it fresh. I realized that in the best way possible, you can’t take touring for granted. It will never be the same thing twice. So the fact that we can do different things keeps it exciting.