Ammunition

Monster (New Album Version)

A Track I Was Featured On By Jimmy Donn Of Sicfux From His Album The Haunted Life.

Jimmy Donn-Pray For Me (Ft. Cadaver & Sadyztyk

Zug Island - Fly Away

Just Upset by: Travis T(feat. Candace, J - Biz - R, & Hex Rated)

THE REVERSE COWGIRL 
“The Reverse Cowgirl” comes in with a cheeky, wink-at-the-camera title — but the music itself is pretty serious about groove. This is a mid-tempo, late-night techno roller (roughly ~115 BPM) that’s built to keep bodies moving without needing to sprint. It’s not trying to be a festival cannon; it’s aiming for that controlled, hypnotic pressure you want when the room’s already warm and you’re steering the mood.

What it sounds like

The track leans on a tight, club-ready drum spine (classic techno DNA: firm kick, crisp hats, a clap/snare that keeps the grid locked).

 After a short tease, it settles into a steady drive and then really “clicks” into its main pocket around the first minute — that moment where the low-end stops flirting and actually commits.

Harmonically, it reads as F-centric (bright tension rather than pure darkness), which helps it feel a bit more strutting than brooding.

If there’s a vocal hook in there, it’s treated like it should be in techno: as a rhythmic slogan, not a pop lead — more texture and attitude than storytelling.

Who it’s for

This one’s for:

Berlin/warehouse techno listeners who like a groove you can live inside

DJs who want a bridge track: something with personality that still mixes cleanly

Anyone who’s into hypnotic, rolling club tools more than big “hands up” drops

Genuine comparisons (vibe + function)

You can hear the same kind of cool, controlled club confidence that shows up in Ellen Allien’s tougher cuts — functional, but never boring. The cheeky/attitude edge (title included) will also land with fans of Miss Kittin-adjacent techno/electroclash energy, where the aesthetic is part of the punch. 


And in terms of modern scene utility — that “keep it moving, keep it tight” approach — it’s in the orbit of Amelie Lens / Charlotte de Witte style programming, just at a more mid-tempo pace rather than full peak-time velocity.

Production notes (what’s working, and what I’d push)

It’s dynamic enough to breathe (not smashed to death), which is great for fatigue-free listening.

If you want more “club bite,” you could push a touch more drum bus saturation/clip control and tighten the sub below ~120 Hz so it hits harder on big systems without getting woolly.

Credits:
Songwriter: Kelly Hector
Composer: Kelly Hector

Monster (New Album Version)

Alvin P.