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)

All by NORO

In 6am 매일 걸음해 무거워 이제는 내 어깨위에 stress yeah
난 게을러서 원치않은 것들은 패스해 패스 한 걸음에 난 책상
따위가 싫어서 이런거를 training
노력은 배신 따윈 안하니
초딩 때 부터 나 안 믿었어 사람을
마치 난 레일리 너를 걍 살인해 eating

Bish, How many bitches in the hype? (Yessir)
걸어 아무도 안 걸어온 길을 be the vice (왜있어)
It’s time to be stand- up bish 날아가 해 봐야지 (wake up)
It’s time to be stand- up bish 뭐라도 해 봐야지 (wake up)

Big ass gun on my lip n Big ass gun on my hip 원했어 매일
잠에 안 들었어 난 매일 밤이 전쟁이야 필요하지 lsd
잠에 못들어 아니 걍  잠에 안 들어 
난 이게 의문이야 왜 나를 만들어
이렇게 난 misfit tryna be the
Mufckin rapstar 라도 되야지 뭐 uh
코미디고 뭐고 내 인생이 더 웃기지
스태미너 소진이야 when the bell ringing
돌아가는 길이 너무 내겐 멀어 가방에는 흙이 bish
선생들은 몰라 언제나 위험한 나의
인생사를 족치기 전에 mofucker들 치워버리네 bye okay

In 6am 매일 걸음해 무거워 이제는 내 어깨위에 stress yeah
난 게을러서 원치않은 것들은 패스해 패스 한 걸음에 난 책상
따위가 싫어서 이런거를 training
노력은 배신 따윈 안하니
초딩 때 부터 나 안 믿었어 사람을
마치 난 레일리 너를 걍 살인해 eating

Bish, How many bitches in the hype? (Yessir)
걸어 아무도 안 걸어온 길을 be the vice (왜있어)
It’s time to be stand- up bish 날아가 해 봐야지 (wake up)
It’s time to be stand- up bish 뭐라도 해 봐야지 (wake up)

Destruction and regеneration
You are the real enemy

나의전쟁

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

나의전쟁

NORO 노로

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