Berlin underground TRANCE/TECHNO crossover.
“This Berlin Trance Club” by Kelly Hector (kellytranscend)
Bottom Line:
A driving, club-first trance cut that locks into a hypnotic 135 BPM pocket and stays there with conviction. It’s about tension, motion, and late-night release—more floor weapon than radio single—and it succeeds on that brief.

What Stands Out:

1) Groove & Pace (A-)
At an estimated ~135 BPM, the track hits that sweet spot between classic trance momentum and modern tech-trance urgency. The kick feels purposeful rather than over-limited, letting the bass breathe and the groove roll. It’s built for movement, not pandering—good call.

2) Arrangement Arc (A-)
The structure is DJ-friendly without being formulaic. Energy ramps into a strong first peak around ~3:00, dips into a proper breakdown near ~3:54, and then rebuilds for a satisfying second run after ~4:30. It reads like a set piece that’ll blend cleanly on either side.

3) Mastering Choices (A-)
Measured from the uploaded WAV (48 kHz, 16-bit, stereo), the track peaks at about -2.8 dBFS with an average around -15.3 dBFS (crest ~12.5 dB). Translation: not brick-walled, with healthy headroom and punch intact. That restraint pays off on big systems.

For Fans Of:
Ben Klock’s pacing, early-2010s tech-trance tension, and Berlin-leaning minimalism with a melodic shimmer. Think floor-tested utility with just enough atmosphere to feel cinematic at 3 AM.

Verdict:
Confident, club-minded, and mixable. As a Berlin-coded trance tool, it does the job—cleanly and with taste. Give it a tiny injection of signature melody or timbral identity, and it crosses from “reliable floor weapon” to “who made this?” level.
Note: All music on the linked SoundCloud is original and owned by Kelly Hector (aka kellytranscend).

THIS BERLIN TRANCE CLUB

“Punishment and Consequences From The Underground”
By kelly Hector
The Overview

Kellytranscend (Kelly Hector) delivers a darkly compelling track with “Punishment and Consequences From The Underground.”

 Hailing from the vibrant Collingwood music scene in Melbourne, Kelly’s solo artistry shines through in this song’s unflinching exploration of personal demons.


THE UNFORGETTABLE UNDERGROUND OF BERLIN 

https://soundcloud.com/kellytranscend/unforgettable-underground-of


The overall vibe is intense yet thoughtful – an underground electronic pulse underpins heartfelt storytelling. 

From the first beat, the song immerses listeners in a brooding atmosphere, signaling that this isn’t just a casual listen but a journey through consequence and catharsis.

 Crucially, the tone balances grit and polish: it feels raw in emotion but refined in execution, immediately grabbing the attention of fans and industry ears alike.

Lyrics & Songwriting

Songwriting and lyricism take center stage here, unfolding as a narrative that’s as introspective as it is evocative. 


Kellytranscend is known for crafting sonic narratives that delve into the human psyche , and this track is no exception. 


The lyrics read like a confessional poem – rife with imagery of underground struggles and the punishment of past choices – yet they avoid melodrama. 


Instead, Kelly’s words have a deliberate, almost literary quality, pairing visceral phrases with reflective insight.

 There’s a clear emotional arc: verses that confront guilt and consequences, building toward a chorus that offers a hint of release or understanding. 

Notably, the writing is introspective and authentic . You can hear the artist’s voice (both literal and metaphorical) grappling with heavy themes in real-time, which makes each line land with weight. 


A minor critique is that a couple of lines might come off a tad literal where a metaphor could hit harder – but that directness also lends the song a blunt honesty. 


Overall, the songwriting succeeds in being specific to Kelly’s experience while remaining universal in theme, inviting listeners to reflect on their own hidden battles. 

Production & Arrangement

On the production front, “Punishment and Consequences From The Underground” boasts a richly layered sound that mirrors its lyrical depth. 

Kellytranscend’s multi-genre background (spanning electronic, rock, and experimental influences is evident in the arrangement. 

The track opens with atmospheric pads and an ominous bass rumble that immediately set a subterranean mood.

 Gradually, other elements seep in: a pulsing beat that evokes the throb of an underground club, and textured synth lines that swirl like uneasy thoughts. 

When the vocals enter, they’re nestled in reverb and subtle distortion, giving a slightly raw edge to her voice while still cutting through the mix. 

The arrangement is dynamic – it rises and falls to reflect the narrative.
 For example, a restrained bridge with sparse instrumentation follows the second chorus, almost like the song catching its breath before plunging into a final, intense chorus.


This clever structure keeps the listener engaged for the full 5+ minutes.



From a technical standpoint, the production quality is impressively high for a solo-produced track. 


The mix is largely well-balanced: the low-end has a satisfying punch without drowning the vocals, and there’s clarity in the high frequencies (hi-hats and atmospheric sweeps shimmer without harshness).

The polished sheen is there, yet there’s an intentional grit – an “authentic, raw edge”.

The overall vibe is intense yet thoughtful – an underground electronic pulse underpins heartfelt storytelling. 


From the first beat, the song immerses listeners in a brooding atmosphere, signaling that this isn’t just a casual listen but a journey through consequence and catharsis.




Punishment And Consequences From The Underground

EPIC — Track Review (Kellytranscend)
“Four-minutes-forty of warehouse momentum—Berlin attitude, Melbourne engine.”

Songwriter/Composer/Producer: Kelly Hector (aka Kellytranscend)
Version reviewed: EPIC.wav (4:40)

Verdict (no sugar-coat)

This is a club-ready, forward-moving trance cut with a punchy low end and a confident warehouse vibe. 

The groove lands; the hats cut; the drops deliver. What’s holding it back from truly elite translation on big rigs is a low-mid buildup (210–300 Hz) and occasional top-end sizzle that can fatigue at volume. 

Fix those two and your record goes from strong to dangerous.

What you nailed

Immediate momentum: Kick sits solid; bass has weight without flab.

Arrangement clarity: Clear intro → lift → breakdown → main drop → second lift → outro.

Hook identity: The motif is memorable; you don’t overplay it.

Club intent: Tonal “pink tilt” is right for Berlin-style rooms (low-end forward, top gently sloped).

EPIC

BERLIN UNDERGROUND TECHNO ACID CROSSOVER.
"Berlin attitude, Melbourne engine.”

UNFORGETTABLE

TECHNO/ACID 
“Unforgettable Underground Of Berlin"
WATCH THIS TO UNDERSTAND THE SONG
https://notebooklm.google.com/notebook/1cce19b4-e2a8-4d7a-9270-8417c06d884e?artifactId=b96c7839-2f04-45a6-a329-fae5650e0526

This plays like a late-night Berlin warehouse memory: confident kick, moody synth architecture, and a steady, hypnotic pulse that keeps you in the pocket. It’s club-functional without feeling generic—there’s intent in the build and a real sense of place.

Songwriting & arrangement

Arc: Intro teases texture first, then rhythm, then the hook—good DJ-friendly pacing.

Hooks: The central motif is memorable because it’s stated simply and developed with filter motion rather than busy note changes. Smart.

Dynamics: Breaks land cleanly; re-entries are satisfying.

Mix & master

Balance: Kick vs. bass relationship is broadly right—club-ready.

Sound design

Low end: Solid, weighty foundation that reads “techno,” not “EDM boom.” Nice restraint.

Lead/acid voice: The speaking-synth/acid edges are expressive without turning harsh—filter rides carry emotion well.

Atmos: Subtle noise beds/radio grit help sell the underground theme;

TECHNO ACID/ TRANCE BY KELLYTRANSCEND
https://soundcloud.com/kellytranscend/special-too-kellytranscend

UNFORGETTABLE UNDERGROUND OF BERLIN

“MY INNER VOICE SPEAKS” — Kellytranscend (Kelly Hector)
Quick take

Bold indie/rock × trance crossover with a cinematic glow. 

The mood is intimate-to-epic, the sound design is confident, and  carries real vulnerability without losing power. It’s playlist-worthy and brand-building for Kellytranscend.

 Kellytranscend's innovative artistry shines through, offering a fresh perspective on how music can be a medium for healing and empowerment. 

Her ability to intertwine compelling narratives with infectious beats sets her apart .

Identity: Clear artist fingerprint—indie guitars, trance lift, and electronic air sit together naturally.

Vocal tone: Strong + vulnerable, vowel-led phrasing feels human and memorable.

Dynamics: Swells and drops create a narrative arc (good “breath/impact” pacing).


FAQ

Is this an original track by Kellytranscend?
Yes—posted on Kelly’s official SoundCloud as kellytranscend {Kelly Hector}.

MY INNER VOICE SPEAKS

BERLIN UNDERGROUND CLUB TRANCE
The Bottom Line A dark, rolling Berlin-techno cut that locks the floor with hypnotic repetition, evolving acid inflections, and zero fluff.
Shadowy warehouse energy—minimalist by design, tension through restraint. 

 It’s club-first music—confident.

CLUB TRANCE

TECHNO/ACID/HOUSE CROSSOVER
Kellytranscend (songwriter/composer/creator/owner: Kelly Hector) delivers a late-night, sweat-glossed techno/acid/house crossover designed for big systems. 

The vibe is 1999 warehouse drama meets modern punch: long-decay kick, thicker Reese sub, and a speaking 303 that knows when to bite. 

It’s built for DJs—intro space to ride, mid-track tension tricks, and a peak that pays off.

What Lands

Groove & Drive: The kick/bass separate cleanly; sidechain gives the 303 headroom when it opens up.

Tension Architecture: The metric slips create a “where did the floor go?” moment, then slam back—crowd bait.

Anthem Edge: The lead stack (acid + supersaw/piano stabs) sells the peak without getting cheesy.

CLUB TECHNO ACID HOUSE

Techno acid house crossover
“Techno Acid” by Kelly Hector (Kellytranscend)
Verdict

Club-ready and razor-edged. The concept lands: Berlin-leaning warehouse grit, classic 909 punch, and a “speaking” 303 that actually says something. The metric slips are the hook—they create tension without derailing the floor. This is a DJ tool with personality.

What’s Working

Acid narrative: The TB-303 evolves—filters and accents feel intentional, not random.

Low-end architecture: Reese + SH-101 combo gives movement without mud when sidechained right.

Arrangement logic: Intro→slip→groove→fake drop→double slip→big return is smart and mix-friendly.

Sound design glue: Machine hum, vinyl hiss, and metallic hits sell the industrial space.

WATCH THE VIDEO ON YOUTUBE 
https://youtu.be/WIRtpS0nnzc


DJ Notes

Keys: Gm→Cm→Gm makes harmonic mixing trivial (relative/key pivot).

Energy slots: Works perfectly as a set’s “gear change” record—use the double slip to reset dancer attention, then slam the Gm drop.

TECHNO ACID

TRANCE/TECHNO 
THE STORY OF THE BERLIN TRANCE/TECHNO UNDERGROUND CLUB SCENE.

THE UNFORGETTABLE UNDERGROUND
https://soundcloud.com/kellytranscend/unforgettable-underground-of

SONGWRITER : KELLY HECTOR 
COMPOSER : KELLY HECTOR 
DESIGNER : KELLY HECTOR
RELEASED 6 TH NOVEMBER 2025 SOUNDCLOUD.COM,

KELLYTRANSCEND MESSAGE FROM UNDERGROUND

Techno epic song by kellytranscend


Techno Acid Spill Video YouTube 

https://youtu.be/6_W_B1QU8nw?si=bz7sfTTI6Lw8Rajm

kellytranscend on YouTube.com 

https://YouTube.com/@kellytranscend

Note: All music on the linked SoundCloud is original and owned by Kelly Hector (aka kellytranscend).

Techno Acid Spill

A EPIC TECHNO/ACID  SONG 
"THE TECHNO ACID DREAMS DAYS  "


SONGWRITER: KELLY HECTOR
COMPOSER: KELLY HECTOR
PRODUCER: KELLY HECTOR
Designer: Kelly Hector

THE TECHNO ACID DREAMS DAYS

TECHNO-ACID × emotional melodic house, 
Techno Acid Dreaming Days (Kellytranscend)
Composition and Arrangement

“Techno Acid Dreaming Days” exhibits many hallmarks of classic acid techno. It is built on a steady four-on-the-floor beat, with the kick drum driving the rhythm in 4/4 time and off-beat percussion adding groove.


The track likely hovers in the 125–135 BPM range, fitting the acid techno tempo profile.
Instrumentation is dominated by electronic drums and synthesizers: in particular, a Roland TB-303–style bass synth provides the signature squelchy, resonant basslines that twist and mutate throughout the track.


Additional layers (hi-hats, claps, hats, percussion) are  introduced progressively.
Overall, the track maintains a cohesive theme – the “dreaming” motif might come through in atmospheric pads or echoes – while evolving element by element. 

This follows electronic music arrangement best practices, where each section builds on the last (drums → bass → melody → breakdown → drop → outro) to create a story-like flow.


Genre Fit and Originality

This track firmly fits into the acid techno subgenre while showcasing some personal flair. It ticks the genre’s boxes: rugged 303 basslines, heavy analog-style percussion, and hypnotic filter modulation that gives a “rave” vibe.


The arrangement and sounds align with acids and techno classics (think Hardfloor or Josh Wink) – acid lines that “twist, bubble, and mutate” over time.

For sync/licensing, this energetic yet polished track could fit background scores for high-energy visuals – think action sports, tech product videos, or futuristic film/game scenes.



SONGWRITER: KELLY HECTOR 
COMPOSER : KELLY HECTOR

TRANCE TECHNO ACID PLAYLIST

https://soundcloud.com/kellytranscend/sets/trance-music-kellytranscend

TECHNO ACID DREAMING DAYS

"IT'S LATE"
WAREHOUSE VERSION — RAW TECHNO-ACID × emotional melodic house, 
SONGWRITER: KELLY HECTOR 
COMPOSER : KELLY HECTOR 

Watch on YouTube It's Late 

https://youtu.be/jd_s9QmY6qo?si=rxE0DGdbcH-JRrnx


Note: All music on the linked SoundCloud is original and owned by Kelly Hector (aka kellytranscend).

TRANCE & TECHNO ACID PLAYLIST 

https://soundcloud.com/kellytranscend/sets/trance-music-kellytranscend

ITS LATER THAN YOU THINK 
https://soundcloud.com/kellytranscend/its-later-than-you-think


LATE ENOUGH  

https://soundcloud.com/kellytranscend/late-enough

IT'S LATE

SPECIAL TOO KELLYTRANSCEND
If you’ve been following Kelly Hector’s Kellytranscend output on SoundCloud, “Special Too” feels like a confident refinement of the project’s core strengths: 

Patient electronic songwriting, a strong low-end identity, and an instinct for building mood without over-explaining it. It’s a five-minute track that doesn’t rush to prove itself. Instead, it settles into a steady pulse and lets the detail reveal itself in layers—small shifts in texture, little rhythmic nudges, and a lead motif that keeps returning like a thought you can’t quite shake.


Structurally, it’s built like an after-hours conversation. There’s a clear “arrival” once the groove locks in, but the track stays interesting by cycling through density rather than throwing in a cheap jump-scare drop. 

Sections open and close with subtle changes to the supporting pads and the way the percussion is framed, so the song breathes even when the tempo feels constant. 

Tonally, it lives in that bittersweet space—more nocturnal than euphoric—with harmony that hints at a C/F-centered palette rather than a bright, major-key payoff.

From a production perspective, Kelly Hector is making a deliberate statement with the low end.

 The mix is sub-forward, with a lot of the track’s power concentrated down below the midrange, and it gives “Special Too” a physical, chest-level presence. 

The top end is comparatively restrained—smooth rather than sparkly—which suits the mood, but it also means the groove’s definition sometimes comes more from weight than from transient snap.

 On smaller speakers, a touch more upper-bass harmonics (or a slight trim in the deepest sub) could help the rhythm read faster without losing the track’s signature heft.

Technically, the mastering feels energetic without being crushed. 
Dynamics are still doing real work, and the stereo picture is sensibly controlled—mostly anchored, with width used as an accent rather than a gimmick. One practical note: the file does hit full-scale peaks, so backing off a fraction of headroom (aiming for a safer true-peak ceiling) would make it more streaming-friendly and reduce any risk of edge-case distortion.

Who is this for?


 Listeners who like electronic music that’s emotive and cinematic, but still groove-driven: night drivers, headphone listeners, and anyone building playlists for late sessions rather than peak-time chaos. Stylistically, it sits comfortably near the moodier end of Moderat, the shadowy precision of Trentemøller, and some of the more atmospheric corners of Bicep—not in imitation, but in shared intent. “Special Too” feels authored, and it rewards repeat listens.


Note: All music on the linked SoundCloud is original and owned by Kelly Hector (aka kellytranscend).

SPECIAL TOO KELLYTRANSCEND

TECHNO/ ACID 
"GIRL YOUR SPECIAL TOO WAITING FOR YOU "

TECHNO/ACID
"IT'S LATE"

https://soundcloud.com/kellytranscend/its-late?in=kellytranscend/sets/trance-music-kellytranscend

GIRL YOUR SPECIAL TOO WAITING FOR YOU

Genre-bending 5-min 45 SEC Techno/Acid Neo Pop fusion

THE LONGEST NIGHT

Kelly Hector’s “Girl You’re Really Special” (up on SoundCloud) lands like a note passed in the dark: direct in sentiment, but wrapped in enough atmosphere that it never tips into syrup. It’s the kind of track that doesn’t sprint for the hook; it eases you in, lets the groove settle, then keeps nudging the arrangement forward with shifts in texture. 

At a little over six minutes, it has the patience to build a world rather than just deliver a moment.

What hits first is the harmonic weight. This is melody-and-pad led production, with drums more as framing than as the headline act. 

The pulse sits around 70 BPM (or 140 if you’re counting in double-time), which puts it in that sweet spot where you can sway, nod, or move depending on the room. 

There’s a dip in energy late in the track—around the four-minute mark—where things pull back before the final stretch, like a quick breath between sentences.

Sonically, Hector leans warm and controlled. The midrange carries the emotional detail, and the top end is present but not hyped, so the track feels nocturnal rather than glossy. 


The harmony reads as bittersweet—hovering in B-minor territory—and the lead motif sits in a comfortable pocket with delay and reverb doing just enough scene-setting. There’s also a subtle sense of rhythmic “breathing” in the mix, the kind of gentle ducking that makes the elements move together instead of competing.

The mastering approach is restrained for electronic pop. Peaks hover around -2.5 dBFS and the average level sits in a sensible zone, so you’re not hearing the limiter do all the work. The payoff is dynamic contrast: when elements drop out, the space genuinely opens up, and when the groove returns, it lands because the arrangement earns it. Stereo is handled with taste too: mostly anchored in the centre, with width used as accent, which helps it translate outside the studio.

Who’s this for? If you gravitate to emotional, late-night electronic pop—think the reflective side of Moderat, the minimal ache of The xx, or some of James Blake’s groove-led moments—this will make sense fast. It’s also ideal for playlists built for night drives, focus sessions, or post-club decompression.

If I’m nitpicking, a touch more upper-bass definition could help the groove snap harder on tiny speakers. But as a songwriter/composer/producer statement, Kelly Hector delivers a cohesive, replayable track that feels made with intention.

WAITING  FOREVER 

https://soundcloud.com/kellytranscend/waiting-forever

GIRL YOUR REALLY SPECIAL

FOREVER

Kelly Hector’s “It’s Later Than You Think” (up on SoundCloud and paired with a DIY visual on the Kellytranscend YouTube channel) watch here: https://youtu.be/Ow3V3q7-Eh8

 Is a slow-burn electronic cut that rewards listeners who like their hooks delivered as atmosphere rather than slogans. 

At 5:41, it takes its time: the opening 20–30 seconds feel like a mood-setting runway before the groove locks in, and the arrangement keeps reshaping through a couple of deliberate breathers around the mid-point (roughly 2:50–3:05) and again near 3:55–4:05. 

The pacing is confident enough to let tension build without rushing to a drop. The accompanying video is functional rather than flashy, but it reinforces the song’s nocturnal mood and signals an artist comfortable doing the whole stack.

Production-wise, Hector clearly thinks in low end. The track is sub-and-bass forward, with a strong foundation living around the 45–55 Hz region; that weight anchors the song even when the top end pulls back. 

Tonally, it leans warm rather than glossy: the high-frequency “air” is present but restrained, and the midrange stays comparatively uncluttered, keeping the main motif readable without harshness. 


Stereo imaging is disciplined too—more “solid center with widening accents” than exaggerated, headphone-only trickery.

From a technical perspective, the dynamics are handled with unusual restraint for this lane. 

Peaks sit comfortably below full scale (around -2 dBFS), and the average level is moderate (roughly -16 dBFS RMS), leaving a healthy crest factor. 

In practical terms, it doesn’t feel brickwalled; when the arrangement thins, you actually feel the room open up, and when it returns, the impact lands without relying on sheer loudness. 

The pulse reads as mid-tempo (around 115–120 BPM), but momentum comes as much from sound design as from drums: swells, filtering, and textural shifts do a lot of the heavy lifting.

If there’s a note to push it further, it’s the balance between sub power and rhythmic definition. 

On smaller speakers, that sub focus can blur some of the groove’s articulation; adding a touch more upper-bass harmonic bite, or shaving a little sub energy, would let transient detail speak faster without sacrificing weight. 


A few transitions could also benefit from clearer “signposts” (a short riser, a one-bar fill, or a more obvious reverb tail) to help first-time listeners track the sections.

Who is this for? Late-night commuters, headphone listeners, and fans of leftfield electronic music that sits between club movement and soundtrack atmosphere.


 If you’re into the brooding, texture-forward storytelling of Trentemøller or the cooler end of Moderat’s palette, you’ll recognise the same instinct for patient build and cinematic pay-off. 

Most importantly, KellyTranscend feels authored: songwriter, composer, producer, and video creator in one. 

“It’s Later Than You Think” doesn’t chase trends; it commits to a mood, and the craft holds up to repeat listens.


SONGWRITER: KELLY HECTOR
COMPOSER : KELLY HECTOR 
PRODUCER: KELLY HECTOR
IT'S LATER THAN  YOU THINK 

I

IT'S  LATE CREATED & WRITTEN BY KELLYTANSCEND KELLY HECTOR 
https://soundcloud.com/kellytranscend/its-late

CLUB TRANCE  

https://soundcloud.com/kellytranscend/club-trance?in=kellytranscend/sets/trance-music-kellytranscend

ITS LATER THAN YOU THINK

IT'S LATER THAN YOU THINK

“SOFT COCKS REWRITE THE PAST” by Kelly Hector

Every once in a while a track hits the techno underground that doesn’t just want to move the room — it wants to provoke it a little.

 “SOFT COCKS REWRITE THE PAST,” written, composed, and produced by Kelly Hector, is exactly that kind of statement piece. It’s bold, acidic, confrontational in title, and completely unapologetic about its identity.

TRANCE & TECHNO PLAYLIST
https://soundcloud.com/kellytranscend/sets/trance-music-kellytranscend

 It’s the kind of track you drop when you want the floor to feel slightly off-balance before locking back into the groove.

As a producer, Hector leans heavily into the ’95–’99 German dark-techno and acid-trance aesthetic, a sound she references in multiple releases. 

You hear it instantly: that chugging 4/4 kick, the rubber-band 303-style acid line, and the cold, metallic atmosphere that feels imported straight from an abandoned warehouse in Berlin at 3:30 a.m. 


It’s gritty without being muddy, aggressive without losing shape — the kind of production that respects the old school but doesn’t mimic it.

If you want comparisons, the lineage is clear. Imagine the acid snarl of Hard floor, the hypnotic tension of early Josh Wink, and the industrial trance edge of classic Paul van Dyke B-sides — but with modern indie-producer sharpness and a distinctly personal sense of humor. 


Kelly Hector’s work always carries a narrative or a wink, and here, the title alone sets the tone: sharp, irreverent, and aimed at the ego structures the track is ready to dismantle.

Musically, the track is built for DJs who value progressive tension. There’s a slow, tightening coil through the first half, where the acid line shapes itself into a pattern that feels almost vocal in its phrasing. 


Then, as the percussion thickens and the filter opens, the energy lifts into a driving, trance-leaning second act. This is not a “big drop” track — it’s the kind that takes over a room by pressure, not by theatrics.

Who It’s For

This is for ravers who actually love techno — not the watered-down festival kind, but the sweat-dripping, dark-room, laser-through-the-fog kind. It’s for producers and DJs who appreciate handmade, independent electronic music with personality. 


And it’s absolutely for fans of acid-driven techno who want something with teeth and attitude.

Bottom line: “SOFT COCKS REWRITE THE PAST” is Kelly Hector at her most confident — raw, stylistically committed, and unafraid to poke the culture while she pushes the beat forward. 


It’s underground music with a knowing grin.


SONGWRITER: KELLY HECTOR
COMPOSER: KELLY HECTOR
PRODUCER: KELLY HECTOR

Release date:
6 December 2025
P-line:
℗ Kelly Hector
SOFT COCKS REWRITE THE PAST By kellytranscend {Kelly Hector} is licensed under a Creative Commons License.


TRANCE/ACID/TECHNO PLAYLIST 


https://soundcloud.com/kellytranscend/sets/trance-music-kellytranscend

"SOFT COCKS LIE EVERY TIME 
https://soundcloud.com/kellytranscend/soft-cocks-lie-every-time

SOFT COCKS  REWRITE  THE PAST

SOFT COCKS REWRITE  THE PAST

LATE ENOUGH 
COMPOSER: KELLY HECTOR
PRODUCER: KELLY HECTOR 
Producing a club-ready, vintage-style acid techno track 
nuanced blend of classic sound design, rhythmic precision, and modern mixing strategies, dark, mischievous, and peak-time energy of 1995 style  acid techno, with a heavy analog.
Hypnotic, four-on-the-floor groove 

LATE ENOUGH

"REVERSE COWGIRL " 
SONGWRITER : KELLY HECTOR 
COMPOSER: KELLY HECTOR

Raw mix for underground sets, 
Relentlessly Intense And Hypnotic 
 Built for a sweaty late-night warehouse rave, powerful rock, floating atmosphere, dynamic contrasts, melodic, kick drum, hard kicks.


WATCH THE VIDEO ON YOUTUBE 
https://www.youtube.com/watch?v=jTUWYxOiFo4&list=PL1ssENa_m59R9uUiyPUfr57zu5J9AO2ak&index=1

If you’re pitching “REVERSE COWGIRL” as a raw, sweaty, late-night warehouse weapon, you’re not overselling it — the track basically says the same thing with its sonics. 

 And at 3:49, it’s tight enough to hit hard, mix cleanly, and get out before the floor gets bored. 
SoundCloud

Style-wise, this sits in that peak-time warehouse techno pocket with a cheeky, electro-brat attitude. 

It’s not chasing glossy “mainstage” euphoria; it’s chasing pressure. The low end is the headline: the kick/sub relationship feels deliberately deep (the weight lives way down low), so on a proper rig it’s going to feel physical — chesty, dark, and relentless.

 The groove is functional and DJ-friendly: steady drive, minimal fuss, and a sense that the track’s job is to keep bodies moving rather than show off clever chord changes.

What I like most is the discipline. 

The mix is mostly mono-strong where it matters, which is exactly what you want for club translation, and the arrangement is paced like a tool: intro/build up, lock into the pocket, then energy shifts that feel like “DJ moments” rather than random scene changes.

 It’s got that Berlin-by-way-of-bedroom-studio vibe — think the utilitarian stomp of modern warehouse techno, but with the kind of mischievous title/attitude you’d expect from electroclash lineage.


Now, the blunt (helpful) bit: because the track is so sub-dominant, you’ll get better translation on phones, cars, and smaller speakers if you add a little more audible bass information in the 80–120 Hz zone (harmonics, gentle saturation, or a parallel layer). 


And if you want it to feel a touch more “expensive,” give the tops a controlled lift: a little extra air/hat sheen and some micro-movement up top can make the groove read louder without actually smashing the limiter.

Bottom line: it’s confident, dark, and built for the floor — a no-apologies club cut that knows exactly where it belongs.

" I WANT TO RIDE YOU REVERSE COWGIRL  " 
SONGWRITER : KELLY HECTOR 
COMPOSER: KELLY HECTOR
https://soundcloud.com/kellytranscend/i-want-to-ride-you-reverse-cowgirl


Trance And Techno Music 

Listen to TRANCE & TECHNO  MUSIC KELLYTRANSCEND, a playlist by kellytranscend {Kelly Hector} on #SoundCloud
https://on.soundcloud.com/E6L0gLWJVhJzSLMer7



Note: All music on the linked SoundCloud is original and owned by Kelly Hector (aka kellytranscend).

REVERSE COWGIRL

REVERSE  COWGIRL

" I WANT TO RIDE YOU REVERSE COWGIRL "
Darker, hypnotic vibe overall 
A “trippy, spaced-out acid techno” feel

Kellytranscend’s “I Want To Ride You (Reverse Cowgirl)” lives in that cheeky, late-night zone where electroclash attitude collides with Berlin-leaning techno and a faint trance-melodrama streak.

 It’s moving at a proper club clip (roughly the 128–134 BPM neighbourhood), but it doesn’t sprint — it stalks, with a dark, minor-key mood that keeps the whole thing slightly dangerous instead of purely playful.

Sound-wise, this is unapologetically low-end forward. The kick and sub do most of the heavy lifting, and there’s a steady sidechain-style “breathing” pump that makes it feel like it’s already in a room full of bodies. 

The bass tone is rubbery and dense, while the percussion stays tidy: tight hats, snappy claps, and a few syncopated nudges that stop it from becoming a straight-line thumper. 

The top end is deliberately not ultra-sparkly — more warehouse sweat than glossy festival polish — which suits the attitude.

Arrangement-wise, it plays like a DJ tool with personality: a patient intro, a first real lift just after the one-minute mark, then a sequence of drops and resets that keep re-framing the groove with slightly different lead/percussion combinations. 

The strongest payoff hits in the later stretch (around the three-minute zone), where the energy crests, takes a quick breath, then drives home the final push.

For reference points: think Miss Kittin & The Hacker coolness dragged through modern grime, with a wink toward the raunchier end of Miami bass.

 My one nitpick: a touch more “air” (or brighter parallel hats) would help the hook cut on smaller speakers. Still — it knows exactly what it’s doing, and it’s grinning while it does it.

SONGWRITER : KELLY HECTOR
COMPOSER: KELLY HECTOR
PRODUCER: KELLY HECTOR

FOR A DEEPER  GRUDGE  VERSION

"REVERSE COWGIRL "
https://soundcloud.com/kellytranscend/reverse-cowgirl

Note: All music on the linked SoundCloud is original and owned by Kelly Hector (aka kellytranscend).

I WANT TO RIDE YOU REVERSE COWGIRL

I WANT  TO RIDE YOU REVERSE  COWGIRL

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
Produced : kelly Hector

THE REVERSE COWGIRL

“SYSTEM FRAUD”
 Is the kind of track that doesn’t ask for your attention—it takes it, tightens the grip, and then dares you to look away.

Written, composed, and produced by Kelly Hector, it lands in that sweet spot between industrial-leaning techno and dark, cinematic club music—the stuff that sounds like neon lights buzzing over wet asphalt. From the jump, you’re in a driving pocket that feels club-ready and unapologetically loud, with a pulse that keeps pushing forward rather than politely looping. 


The low end is big, controlled, and intentionally blunt: it’s built to move bodies, not to be background wallpaper.



What really sells it is the attitude. 


There’s a cold, suspicious energy to the arrangement—like the track is constantly hinting that something’s not right, and you’re meant to feel it in your chest before you can explain it in words.


 The production leans into sharp edges, tension-building layers, and pressure-release moments, with breakdowns that don’t “calm things down” so much as reload the clip. 


It’s a confident structure: you get stretches of relentless momentum, then those darker dips where the atmosphere thickens and the next hit feels inevitable.


If you’re into artists like Boston 168 (that dystopian warehouse hypnosis), Gesaffelstein (cold electro-industrial swagger), or the harder end of Paula Temple / Rebekah (punishing, high-intent techno), you’ll recognise the lane—except Kelly’s got a slightly more narrative, cinematic way of stacking sounds.


 It feels less like a DJ tool designed in a lab, and more like a track with a point of view: paranoid, wired, and strangely addictive.


Who is it for? Late-night ravers, headphone listeners who like their electronic music menacing, and anyone building playlists around cyberpunk, dark techno, industrial rave, or underground warehouse sets. 



If you want something pretty, this isn’t it. If you want something that sounds like it could soundtrack a chase scene through a corrupt digital city, welcome home.


Bottom line: “SYSTEM FRAUD” is tough, immersive, and purpose-built for the dark end of the dancefloor—Kelly Hector sounding in full control of the chaos.

SONGWRITER:  KELLY HECTOR

COMPOSER:  KELLY HECTOR

PRODUCER: KELLY HECTOR


SYSTEM CONTROL PULSE 2026

https://soundcloud.com/kellytranscend/system-fraud-control-pulse


SYSTEM FRAUD

"System Fraud Control Pulse 2026” — Kelly Hector (Kellytranscend)

There’s a distinct sense of narrative ambition in “System Fraud Control Pulse 2026,” the latest release from Melbourne-based electronic auteur Kelly Hector.

 As songwriter, composer, and producer, Kelly Hector has carved a space for herself in the deeper, darker edges of electronic music — where clubs blur into warehouse spaces and emotional weight sits comfortably beside physical impact. 


What’s compelling here is kelly Hector’s ability to straddle deep house’s hypnotic feel and trance-adjacent energy without leaning fully on either.


 It’s not deep house in the loungeroom sense; it’s a club cut with enough low-end drive and melodic insinuation to keep late-night dancers locked in. 

Instead, it feels like a midnight Berlin set, where the crowd knows what it wants but the DJ still holds some secrets back — a vibe we might associate with artists like ARTBAT or Anyma in their nocturnal moments, only filtered through Kelly Hector’s personal lens. 

The arrangement feels meticulously paced. 

When a track is titled “SYSTEM FRAUD (Control Pulse)” and comes from Kelly Hector — credited as the songwriter, composer, and producer — you don’t expect half-measures. 

Kelly has crafted a piece that sits confidently at the intersection of deep, hypnotic groove and tense, pulsating techno-house drama.

 

From the moment the low end settles in, there’s a sense of controlled pressure — like the mechanics of a machine running at exactly the right RPM to generate both heat and motion. 

The kick drum is solid and driving, not muddy or over-compressed; it gives the track a firm heartbeat. 

Above it, the bassline has a swelling quality — full enough to fill a room but calculated so that it doesn’t overpower the rhythm. 

That separation between kick and bass is a smart production choice: it leaves space for the groove to breathe while keeping the energy constant.

What makes “SYSTEM FRAUD (Control Pulse)” stand out is how it balances underground club grit with a melodic sensibility that doesn’t feel tacked on.

 There’s an emotional thread running through the track, a tension that resolves slowly over time.

 It’s reminiscent of artists like Function or Agents Of Time — producers who don’t just make dancefloor tools but design landscapes of sound that unfold over minutes, not seconds.

The rhythmic textures — the hats, percussion, and subtle industrial touches — give it a raw edge that’s perfect for a late-night set in a warehouse or an after-hours room where people are fully immersed in the music. 

Yet there’s a sophistication in the way those elements are arranged that could easily cross over to underground festival stages where discerning crowds are listening as much as dancing.

This track is for the listener who loves sound design and groove in equal measure — DJs looking for a versatile piece to anchor a set, and ravers who want something evocative and immersive rather than shallow and predictable.

 Fans of deep, emotive techno with groove — think Innervisions-leaning house but with a darker pulse — will find themselves returning to this one. 

It’s a compelling blend of mood, movement, and meticulous production craft.


Who’s it for?

If you’re the kind of listener who prefers deep immersion over instant gratification — someone who loves to feel the layers of a track unfold across multiple spins — this is for you. 

It’s music for late nights where the shadows are long, the crowd knows the code, and the bass hits with purpose.

In a landscape often dominated by formulas.

 “System Fraud Control Pulse 2026” 
Stands out for its thoughtful construction and emotional grit — a testament to Kelly Hector’s evolving voice in underground electronic music.

Groove-centric, low-end focused, and more interested in tension and atmosphere. than obvious “hands in the air” moments.

SONGWRITER: KELLY HECTOR

COMPOSER: KELLY HECTOR 

PRODUCER: KELLY HECTOR

System Fraud Control Pulse 2026

“CALL THEM OUT” is Kelly Hector doing what she does best: taking a dancefloor format and giving it an agenda. 

Credited on SoundCloud under kellytranscend {Kelly Hector}, it’s tagged TECHNO/HOUSE, and that classification is right on the money—this is club music built for momentum, but with the harder edges and repetition discipline you expect from late-night warehouse programming. 


Sonically, the track sits in that hypnotic zone where the groove is the headline. 

The pulse is steady and insistent, with a kick that’s designed to stay present without swallowing the mix, and a bass foundation that feels deliberately “separate” from the kick—more like two engines running in parallel than one blob of low end.


 That separation is what gives the track its forward motion: it keeps the bottom end tight while leaving room for the midrange to push tension.

What makes “CALL THEM OUT” engaging is the way it balances house swing with techno pressure. 

You get the rolling, body-led movement of house, but the arrangement thinking feels techno: gradual intensification, small timbral changes that matter, and sections that are clearly built for mixing rather than radio structure. It’s DJ-minded in the best way—usable, but not generic.



In terms of comparisons, you can place it on a spectrum between the lean, functional warehouse drive of Under Black Helmet and the darker, cinematic tension style associated with KAS:ST—not because it imitates either, but because it shares that philosophy of “less hype, more hypnosis".


 If you lean more mainstream, there’s also a family resemblance to the tighter end of modern peak-time techno that DJs like Charlotte de Witte or Amelie Lens have popularised: clean propulsion, minimal fluff, maximum control.

Who it’s for: this is for DJs who want a track that can anchor a mid-set stretch—when the room is locked in and you’re building pressure rather than chasing a cheap drop.

 It’s for dancers who like to go “heads down,” where the reward is trance-like immersion, not constant change. 

And it’s for anyone who likes their club music to feel pointed: the title alone frames it as music with a spine.

Kelly Hector being the creator behind both soundcloud.com/kellytranscend and youtube.com/@kellytranscend matters here—the track feels like part of a broader independent project identity, not a one-off. Bottom line: tight, warehouse-ready techno/house with intent, and a groove that holds its ground.

CALL THEM OUT

TRANCE/DEEP TECHNO
Hardgroove / hypnotic techno built for warehouse systems and long DJ blends.
138 BPM, dark, rolling, and groove-focused.

Hypnotic warehouse techno driven by deep mono low-end, restrained harmonic movement, and subtle textural evolution — a long-form tool for late-night sets and extended transitions.

"Calling Epic Moments" is driven by a punchy four-on-the-floor kick, deep mono rumble bass, and syncopated hardgroove percussion. 

"Calling Epic Moments" is a warehouse-driven hardgroove / hypnotic techno tool built for long blends and serious systems. 

Punchy four-on-the-floor kick, deep mono-safe rumble bass, and rolling, syncopated percussion create sustained pressure without relying on breakdown theatrics.

Designed for peak-time or late-night sets where groove and repetition matter, this track holds tension over time and locks dancers into the rhythm. Functional, focused, and system-tested.

Minimal melodic content, evolving filtered stabs, and restrained atmospheres keep the track locked in tension without relying on big drops.


Designed for late-night floors, long mixes, and serious sound systems.Relentless hardgroove pressure with a deep, controlled low end.


"Calling Epic Moments" is a system-forward warehouse tool built for long blends — punchy kick, rolling percussion, mono-safe rumble bass, and hypnotic repetition. 


No breakdown theatrics, just sustained groove and tension that holds the floor.

Perfect for peak-time warehouse sets , extended transitions, and late-night hypnosis.

This is functional, late-night techno with cinematic undertones — music made for dark rooms, high ceilings, and dancers who lock into repetition.



 Calling Epic Moments doesn’t shout for attention; it commands it through weight, focus, and confidence.

138 BPM, dark, rolling, and groove-focused.

Calling Epic Moments is driven by a punchy four-on-the-floor kick, deep mono rumble bass, and syncopated hardgroove percussion.

Minimal melodic content, evolving filtered stabs, and restrained atmospheres keep the track locked in tension without relying on big drops.

Designed for late-night floors, long mixes, and serious sound systems.






1999 STYLE TECHNO/DEEP HOUSE 

SONG WRITER :KELLY HECTOR

COMPOSER: KELLY HECTOR

PROUDER: KELLY HECTOR

CALLING EPIC MOMENT'S

CALLING EPIC MOMENTS

DRIVE ME HOME

Modern hardgroove / hypnotic techno, 7:00, 138 BPM, 4/4, 

"Kellytranscend drives it home with a hypnotic late-night odyssey on
Drive It Home Later".

A deep trance-techno fusion that truly earns its title.

 From the first kick drum, the track establishes a driving, late-night energy – the kind of pulse that hits at 3 AM when the crowd is lost in the music and nobody’s ready to leave.

 Clocking in at about 7 minutes of runtime at a vigorous 138 BPM

 It blurs the line between 3AM and atmospheric deep trance, delivering on both adrenaline and introspection.

It’s reminiscent of those classic progressive house/trance crossover tracks that pair driving beats with emotive chords – a combination that appeals to both the body and the soul. 


Kellytranscend’s artistry lies in fusing these elements seamlessly. 

You can tell she’s not afraid to blend genres: the track carries the thumping precision of techno but also the uplifting spirit of trance, with even a sprinkle of deep house warmth in the smooth, enveloping synth pads.

It’s a unique synthesis that feels very much her own.

Also notable is the sense of narrative or journey throughout “Drive It Home Later " The song manages to tell a story through its progression. 


The title itself suggests an intention – that feeling of wanting to prolong the night, to let the music keep you going and drive home later. 


Listening to the track, you really feel that vibe: it’s music for when you’re not ready to quit the party. 


It’s easy to imagine this track closing a DJ’s set at a warehouse party in Collingwood, the hometown of Kellytranscend, with dancers so entranced by the rhythm that they indeed decide to stay just a bit longer.




There’s a personal, authentic touch in the production – as if the producer’s own late-night experiences and passions are encoded in the sound. 


“Drive It Home Later” feels like an honest expression of what Kellytranscend loves about the music: the freedom, the late-night euphoria, and that almost spiritual connection that forms on the dancefloor.



Arrangement & Structure: 
The track is structured in a DJ-friendly way, with an extended intro of steady beats that makes mixing in and out a breeze. 





Elements are introduced progressively, keeping listeners engaged by adding or subtracting layers at just the right moments. 



The mid-song breakdown is well-timed – it provides contrast and emotional depth without derailing the energy.



After the break, the return to the driving groove comes at a perfect moment to re-energize the dancefloor. 



At ~7 minutes, the length is typical for a club mix; it gives DJs plenty of room to work with. 


(For broader audiences or radio play, an edited shorter version could be created, but in its full form the track excels in a nightclub context.) 



The ending wisely offers a beat-focused outro, ideal for mixing into the next track.


 Overall, the arrangement demonstrates an understanding of dancefloor dynamics and keeps the journey cohesive.



Sound Design & Instruments: “Drive It Home Later” features a strong selection of classic yet effective sounds for its genre blend.

 The kick drum is robust and punchy, providing the track’s pounding heartbeat. 

It’s evident that Kellytranscend has a keen ear for sound design, blending analog-esque warmth with digital clarity.









DRIVE IT HOME LATER

“Come On Dance (Until 10 AM)” is Kelly Hector leaning into a simple, sticky idea and turning it into a mood you can live inside. 

The lyric is basically a mantra—“come on dance with me” and “stay with me until 10 AM”—and that repetition is the point: it plays like an invitation that starts playful, gets bolder, and ends up feeling like an after-hours pact.

What I like here is how the vocal phrasing functions as part hook, part rhythm instrument. It’s not trying to tell a complicated story; it’s aiming for hypnosis, the way a good dancefloor track can make one line feel like the only line that matters. 

The ad-libs push it into adult territory (definitely mark this one explicit), but they also make it feel human—more “caught in the moment” than polished-to-death.

On the sound side, the track is unapologetically low-end driven. You can feel that this is built for systems that can actually move air: subs and low-mids carry the emotional weight, while the top end stays controlled rather than ultra-bright. Tempo-wise it sits around 69 BPM (or 138 in double-time), which gives it that slow-motion, after-hours sway—perfect for late sets, night drives, or headphones when you want something sensual and steady instead of frantic. 


The overall loudness is punchy but not crushed, with enough dynamic room that the groove can breathe instead of flattening into a single block.

Who it’s for: listeners who love the late-night side of electronic music—where mood and repetition are the hook. 

If you’re into the shadowy pull of The xx, the sleek, patient tension of Moderat, or that seductive, low-slung energy you get from trip-hop-adjacent club tracks, this will land.

Credits: Written, composed, and produced by Kelly Hector.



Berlin Come On  Until 10am

Berlin Come On Dance Until 10 Am

THE CLUB ISN'T PRIVATE

NERVOUS SYSTEM RESET 
REMIX
Kelly Hector’s “Nervous System Reset (Remix)” gets there quickly.

 It’s built around a steady, forward-leaning pulse (around 128–130 BPM, with a half-time sway if you prefer counting that way), but the real hook is the way it regulates tension—tightening the groove, letting it breathe, then tightening it again, like the title is describing a physical process rather than a metaphor.

What stands out first is the low-end identity. This mix is unapologetically sub-led, with most of the track’s weight living down in the bass and low-mids. 

On a proper system, that translates as physical pressure rather than just “more bass,” and it gives the remix a club-ready backbone without relying on cheap peak-loudness tricks. 

The top end is kept intentionally smooth; it’s not a sparkly, hyped-highs master, which helps the track feel late-night and focused instead of frenetic.

Arrangement-wise, the remix feels patiently engineered.


 There’s a noticeable drop in density around the 2:40–3:00 mark, where the energy pulls back hard before rebuilding, and later you get another clear shift around 5:30–6:00 that resets the listener’s ears for the final run. 



Those moments matter: they make seven-plus minutes feel purposeful, not padded. Tonally, it reads as A-minor adjacent—dark but not oppressive—more “steady resolve” than “doom.”



Technically, the mastering is refreshingly restrained. Peaks sit around -2.5 dBFS with an average level that leaves real headroom, so transients aren’t flattened and the groove has space to breathe. 


Stereo width is also disciplined (mostly center-focused with tasteful side information), which helps the low end stay solid and keeps the track translating well outside of headphones.

Who is this for?

 If your playlists live in that intersection of club propulsion and headphone detail—late sets, night drives, focus sessions—this will land. In terms of vibe, it sits in the same conversation as the more controlled, textural side of Jon Hopkins, the nocturnal precision of Moderat, and the emotive, groove-first momentum you get from Bicep (without copying any one of them).


ORGINAL TRACK

https://soundcloud.com/kellytranscend/nervous-system-reset




NERVOUS SYSTEM RESET REMIX

Kellytranscend is the moniker of Kelly Hector, a Melbourne-based artist who is a songwriter, producer, music  composer, and video creator.

 Her work is characterized by a mix of alternative rock, electronic, and experimental sounds, often described as atmospheric and introspective. 

Key aspects of Kellytranscend's music include:

Artistic vision: Kelly Hector weaves personal experiences and narratives into her music to create immersive journeys for listeners.

 Her artistic commitment emphasizes authenticity and integrity.
Musical style: 

Her tracks feature layered soundscapes, emotive melodies, and lyrics exploring human emotions. Her production has a polished feel while maintaining a raw edge.


Genre blending: She is known for seamlessly blending genres. Her recent work includes weaving together elements of EDM, alternative rock, spoken word, and ambient textures.

Visual art: In addition to music, Kellytranscend creates captivating visuals that enhance the storytelling experience of her music. 

You can find and listen to Kellytranscend's music on platforms like:

SoundCloud: Here you can find various songs, albums, and playlists.
YouTube: Her YouTube channel features music videos and audio tracks.
audio.com: This platform also hosts her audio tracks.
Google Sites: A site dedicated to her work also details her profile and projects.

TECHNO/TRANCE MUSIC  PLAYLIST 
https://soundcloud.com/kellytranscend/sets/trance-music-kellytranscend

kellytranscend {Kelly Hector}

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