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I’ve been a fan of xKore since before I knew what EDM was. Even before he made his break onto the scene, he was producing and putting out tracks on a forgotten site called Newgrounds (those who remember, I salute you). I have had the rare opportunity to actually listen to an artist grow over his entire career, and I have loved seeing him progress and watching his sound mature. This newest EP out now on Rottun Records does not expand on his sound too much, but instead solidifies his place among the dubstep producers every basshead should have in their library.
End of the Line is a 5-track aural assault filled with dubstep, drumstep and anything bass. The first and title track ‘End of the Line’ starts off with dubstep’s hype man Messinian laying down some scintillating lyrics and descends into a cacophony of bass synths and screaming SAWs. xKore has a signature sound with rising lead synths and oscillating basslines that is in full-force in this track. Next is probably my favorite from the EP, ‘Killah’, an unforgiving drumstep banger. There’s not much to say about it other than the bass hits me in just the right spots (*wink*). 
‘Shredder’ at first listen is a little hard to categorize with xKore’s heavy bass and growls but at the end of the day, it is some intensely powerful electrohouse. It’s got the filth of a Snails track with energy comparable to any of his other releases. ‘Crank It Up’ is another 128 BPM banger that focuses more on an electro sound than the harsh bass clash that is so typical in xKore’s other productions. Last but not least, we have the moombah collab ‘Money Counter’ with Stereoliez. This one is definitely unique as it blend those huge hardstyle kicks with a distinctively moombah tempo. There’s nothing PG-rated about this track, it’s absolute filth all the way through.
So like I said before, there’s nothing too new about this EP. It’s xKore’s sound in many different packages, all equally good but I feel that in the end his sound has stagnated just a bit with this release. Don’t get me wrong — the production is good — but there’s just a level of evolution that I expect from a producer with each release, and I just didn’t see it here. Regardless, hearing any of these tracks played out live in front of thousands of bassheads is sure to turn things up a notch.
