replica

Vaundy - 常熱 (Jonetsu)

INOHA's debut album! It contains previous released singles "Saturday Nights", "Seventh Heaven", and "GESHUOU" along with six brand new tracks.

Seventh Heaven

Vaundy - ZERO

常熱 -『Vaundy one man live "HEADSHOT" at Makuhari Messe』

風神-『Vaundy one man live ARENA tour “FUSION”』

official髭男dism - 이단나스타 (live)

僕にはどうしてわかるんだろう

再会 (saikai) — Vaundy || The Summer Hikaru Died Opening (TSHD OP)

Prod. Keramic Tools

Devil’s in my mind
깨어나서 난 랩하러 다리 움직여 래퍼들의 머리 위에서 다시 go get’em peace sign을 날려보자고 세상에다가 고삐리 애새끼 이제는
the best of the best  
devil’s in my mind bish  devil’s in my mind 
devil’s in my mind bish  devil’s in my mind 
devil’s in my mind bish  devil’s in my mind 

Bad dream in my brain 다시 한번 내 음악을 위해
의지 하나로 더 버텼어 alternative 
나의 음악을 매일 만들어 babe 
너희들은 이해못할거야 나에 대해서 아무도 제일로 잘하지못해 than the no r o babe
It’s the control beat of 25 
인스타그램 속 에서 음악으론 살수 없다네 followers
사이보그처럼 하지 음악을  
고삐리 놈 여전하게 in bottom
더 보여줘 겉치레가 아닌 나를  머리 안엔 먹구름이 아마 가득 하지

2024 부터 지금까지
여기 먼발치에서 부터 저기 위까지
걸어올라가 what you sayin bro? 여기 올라타
이제야 나는 메인 폼 상관도 없어 너의 hate


그래 내 Flow 재빠르게 움직여 그 아무도 랩 Badr Hari 마치 thunder
Whole lotta many bitches on my dick 실은 아니라 필요해 틴더
양손에 거머쥘 rappers 언제나 우린 더 
먼저 앞으로 나아가네 
무시하고 가자고 더 미쳐가지
devil’s in my mind bish  devil’s in my mind 
devil’s in my mind bish  devil’s in my mind 
devil’s in my mind bish  devil’s in my mind 

(NORO, He always makes new things but he hates Fu Bao. obey NORO. I say it again, obey NORO. bitch ass motherfucker, obey NORO. I say it again, obey NORO.)

뇌내악의

Indu marks Roman Fahls’ commanding return to electronic music—a bold fusion where traditional Punjabi vocal fragments collide with crushing UK bass architecture. Named after the ancient Sanskrit word for the moon, this debut EP illuminates the darker corners where Eastern spirituality meets Western underground culture.
Across these tracks, Roman Fahls weaves intricate Punjabi vocal chops through the project’s signature framework of distorted breakbeats and non-conforming time signatures. These aren’t superficial samples grafted onto existing structures—they’re fundamental elements that reshape the very DNA of each composition. Traditional dhol rhythms lock into syncopated patterns with jungle breaks, while sitar melodies dissolve into ambient textures that feel both ancient and futuristic.
The EP’s sonic palette draws from classical Indian instrumentation—tabla, bansuri, and veena—but processes them through the same uncompromising lens that defines the Roman Fahls aesthetic. A bansuri flute might emerge from crushing sub-bass, its organic breath transformed into digital vapor, while tabla patterns fragment and reconstruct as part of the rhythmic chaos. These elements don’t merely complement the electronics; they become part of the machine itself.
Indu represents more than cultural fusion—it’s a meditation on displacement and belonging, channeled through the universal language of bass and rhythm. The traditional vocal samples carry stories across continents and generations, their meaning both preserved and transformed within Roman Fahls’ dark electronic framework. Here, the spiritual meets the industrial, creating something that honors both traditions while belonging fully to neither.
This is diaspora music for the underground—heavy enough for the warehouse, complex enough for headphone journeys, and rooted enough to carry the weight of cultural memory. Indu doesn’t compromise Roman Fahls’ unforgiving sonic vision; it expands it, proving that tradition and innovation can coexist in the deepest, heaviest spaces of electronic music.

Anmol

Everywhere at the end of time

C2 - Misplaced in time

뇌내악의

NORO 노로

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