XKore is definitely one of our favourite producers at the moment. This young lad from Sittingbourne is doing his own thing, building his own community and putting out the kind of music he wants. xKore has always been realistic about the state of the music industry and the dubstep scene and how hard it is these days for up-and-coming producers to “make it”. So he’s stuck to his guns, made good use of the tools at his disposal, and just soldiered on. Check out the interview with Xkore we did a few weeks ago to find out more about the man of the moment.
Speaking of the moment, xKore has just dropped his latest offering, the End of the Line EP, on Rottun Recordings. It is not for the faint of heart, so get ready for a rollercoaster. This is going to kill some braincells. First up, the title track, End of the Line, is a bass-heavy dubstep monster featuring MC Messinian from Philadelphia. The intro is huge, with Messinian throwing down some bars to build up the tension before a hard-as-nails drop and those customary xKore beats. That bass ain’t taking no prisoners. This is aimed squarely at the dancefloor and we can see it doing some damage anywhere this gets dropped.
Next up we go to Killah, which sees xKore switch thing up a bit with a drumstep banger. Those half-time beats are right on the money. The bass is absolutely disgusting and there are hints of early (ie good) Pendulum and Sub Focus in there. This one is going to absolutely rip nightclubs apart. It’s the perfect fusion of dubstep growls and screeches with drum n bass energy.
The third track, Shredder, has a rocking tribal 4/4 beat driving this filthy electro bass. It’s a playful tune, thumping along at about 128 BPM, before another 4/4 tune, Crank It Up, which has a very big room vibe. Already you can see that this EP is diverse, touching many genres and showing a deep appreciation of contemporary dance music, while making sure to please to please dancefloors the world over.
The final track, and and one that is no doubt going to polarise opinions, is Money Counter, a collab with Stereoliez. It’s an unapologetic, rough-and-ready moombahton number that delivers on a number of fronts. The intro is rowdy as hell, pitching everything up to the drop and then it’s four-to-the-floor headnod madness, out of nowhere. The breakdown is bass and siren heavy, leading into the mid-section and the second drop. The final minute of the tune switches things up something spectacular and brings it all home, but you get the impression this tune is more Stereoliez than it is xKore. It’s no bad thing, by any standards, but it’s certainly going to confuse fans who can’t get past expecting a certain type of sound. On first hearing it, though, we thought it was great and probably our fav tune on the EP.
Overall, this is a solid offering from xKore, available now on iTunes.
Listen: Three phat tunes from the new Dub FX album
Hold onto your butts ‘cos we’re about to get HUGE. The new Dub FX album has just dropped and it’s a barnstormer.
Melbourne born Dub FX has been an underground fan base that spans the four corners of the club. A pioneer of live looping, Dub FX fuses beat boxing, soulful vocals and lush basslines to create a raw, edgy sound that warms the cockles. Thinking Clear is Dub FX’s third album and we’ve been giving it a good listen. You need to get on it!
To whet your appetite and get you in the mood, hear are three tunes from the LP for your listening pleasure. Real party vibes pieces of music. Enjoy!
The album is brought to you by CONVOY UNLIMTED and Membran.
ROAD TO BABYON
WHERE I BELONG
Intelligent fusion: Mantis rain fire with new EP
It’s a tricky path producers of metal-influenced EDM walk. How do you keep the production values high without sounding cheesy? Thankfully that’s not a problem Mantis have to worry about because their new EP is raw as f-ck. In the span of just five tracks, the two lads from Atlanta explore the rugged side of drum n bass, dubstep and metal. The Avidity EP is a clear attempt at breaking the mould — and it pays off. We wanted to find out more so we went straight to the source to ask the lads a few questions.
The new tunes are doing damage. What made you want to put out an EP that explored so many genres?
Well to be honest, we were tired of just writing an EP that was just an assortment of songs. We wanted to do something with more substance, so we opted for the mini album structure where all the tracks flow continuously as one piece of music. Want to send a big thanks out to Crime Kitchen for letting us do our thing on this record and not nitpicking the songs!
How big a milestone is this new EP for you?
We definitely feel it is our most mature work to date, it’s got something for everyone on it. So, that being said we are very proud of it. The reception thus far has been really good!
You’ve got a show coming up in London soon (April 16). What can people expect from that?
Man, so fucking excited for that one. When we first started out, we would always see the ERGH lineups and drool. Now we get to go and headline it, it’s very surreal. People can expect a no holds barred audio assault though, per usual.
What do you say to people who say dubstep is dead?
Starting as they mean to go on: CLOAKS – Wraith
Label spiel: After remaining in the shadows for quite some time, the bass rooted duo CLOAKS is ready to enter the light as they make their debut with the heavy single “Wraith”; out now on Pantheon. in what will be the first of many, the ominous pair of Joey Fisher and Chris Curran make strong first impressions with the moniker as “Wraith” provides an old-school dubstep feel with cutting edge contemporary approaches; providing a trailblaze of a pathway to a new mantra of bass music. And with plenty in their arsenal moving forward, these two are ready for the world to be enraptured in their sound.
Our take: This tune is sweet little surprise. What we love about this one is the fusion of styles, with this kind of dreamy, trancey intro, somewhat Eric Prydz-esque, that builds up to a gargantuan, unforgiving drop. It gets a little happy clappy in the mid-section but then they pull it back with the second drop. It’s that bass and those wicked synths we wanna hear more of in future offerings. Nice job!
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