Bloodywood. Strange name. Catches the eye, no matter where you’re from. Which is sorta why we chose it. More than that, through all the thought we’ve put into it, and through all the chats we’ve had about it, it’s come to mean the exact conceptual counterpoint, or even antidote, to the overwhelming mainstream.

To really define it, you have to be aware of the growing, throbbing, suddenly self-aware “scene” in Bombay (our home town), and across the major cities of India.

There is, and has been for a few years now, a very self-reliant, very vibrant “indie” element to urban thought in India, one that finds expression through art, through cultural activity, and of course, through music. It’s the unique voice of urban India, which is raring to break the bounds of the conventional concept of India known across the world.

As a people, we’re only just starting to develop our own, unique, indigenous urban edge. That edge is Bloodywood. Not related in any way to our more famous film industry and its infamous nickname. In fact, it’s the very antithesis. It’s art for the sake of art, for the sake of love, even. Stripped off commercial consideration, with no major label or corporation supporting it, it has found it’s own legs, and it’s own identity. That identity is Bloodywood. It’s razor sharp, it’s fiercely innovative and it’s beautiful.

For Pentagram, Bloodywood encompasses all our friends. Everyone we know who works in music, or film, or television, or theatre or art, who is looking to do something unique, individualistic and expressive. From the heavy metal bands, to the alt-rock bands, from the indie bands to the punks, from the dubstep and house djs to the electro-fiends and all the events people putting us all on stages, big and small, across the nation and the world. From the indie singer-songwriters to the folk-rockers, to the journalists who write about our world with passion, insight and knowledge. Basically, it’s people with an irresistible passion, and a hunger for change. It’s a pretty widely inclusive term. And it’s got a nice ring to it. Bloodywood.

The album itself has 14 songs on it, ranging from the intensely personal (Nocturne, Human Failings, I Get You, This Could Get Ugly, In My Head), to the fun, jumparound-vibe (Lovedrug Climbdown, Mental Zero, Nutter), to the socially relevant (Must I, Tomorrow’s Decided, Identify). Lyrically, and sonically, Pentagram has taken the steps we’ve been meaning to. This is an album that, for us, is both back-to-basics and extremely edgy.

Sonically, it’s the electro-heavy edge we’re known for, with huge beats and big, hairy guitar and synth tones and riffs. Lyrically, it’s far more personal, driven and open than we’ve ever been. Most importantly, in terms of songwriting, it feels like a genuine progression.

We’re more ourselves now. Our biggest influence on this record has been our city, our people, our surroundings our lives. Songs like Mental Zero and Tomorrow’s Decided could only be from Bombay, they could not have come from anywhere else in the world. And yet, they can all be played to audiences anywhere in the world, and will give ‘em a taste of our energy, our city and our identity.

Basically the album is a sonic slice of the other side of Bombay, India, Or as we like to call it, Bloodywood.

Stream exclusive prelaunch tracks of Bloodywood on our album page!