xKore “Full Clip”

Matt Cavender is the culprit responsible for bassheads bouncing off the walls to his low-end lunacy. The young Londoner has been making noise over the past few years as xKore, and his latest EP will make you wild all the way out.

Being issued by the Firepower crew, Wild to the Kore is a four-tracker that sees the 21-year-old gun flinging out the filth like his life depends upon it. “Full Clip” is the second cut on the release, and it’s a crude, rude outing. Piercing synth lines are shot out with machinelike precision over grime-coated subbass and buff-ass vocal work. It’s a dangerously dope dancefloor weapon, and xKore has his finger on the trigger.

Available May 19 via Firepower Records.

Were you impulsive on this track, or did you have a sketch in mind before you started?
For a very long time, I have only been able to work with tracks on impulse, busting them out in short periods of time instead of planning and taking my time on them. This particular track was done over the course of two or three consecutive nights of just straight studio time. I find I get bored on tracks otherwise, and there’s a particular energy you get when producing and you have this creative burst.

How does this production reflect your personality/ethos?
Lately, I’ve been trying to make some rougher and rude-style dubstep inspired by the things that were coming out when I was first coming into dubstep about four or five years ago. I’m really into this move away from just brutal robot sex-sounding kinda stuff, and more in favor of something that’s just a bit more atmospheric and has a sense of dirtiness.

Have you played this one out in any of your sets? If so, what was the response?
I play this in all my sets and a few of my Wild to the Kore mixes that I’ve put online. A lot of the time, I’m hesitant to play my own tracks. I know I should, but after hearing them so much, I don’t want to hear them anymore. But with this one, it’s been really satisfying to play out and see the crowd get hyped to it.

When it drops and the high-pitch lead comes in and plays that little melody, it creates what I like to call an “OHHHH” moment, and I love it when that happens. It’s really easy to mash up with a lot of other tracks out at the moment, as well.

What’s your favorite sound/synth/effect/etc. used here?
The high-pitch lead that plays the melody on the drop is really satisfying to drop. But I think my favorite sound in the track is the really fast wobble that sounds like it’s from a Doctor P track. It’s what I was going for, and I think I pulled it off well—if I do say so myself. A lot, if not all, of these sounds are fresh and made from scratch, though. It’s not something I would usually do, so I’m happy they’ve all turned out sounding good. These are all in Massive, for any producers wondering.

Do you think advances in computer technology and gear have affected your creativity?
I’ve been playing around with a relatively new synth called Serum lately, which I think a lot of producers reading this will be familiar with. It really is a game-changing synth in the way it produces such a spectrum of sounds, ranging from synthetic to organic-sounding, and being very easily morphable. I think this shows in the sounds I’ve used in my new tracks.

New synths and trends in ways of producing sounds spread to the listeners in the music that’s produced from them. It has been really interesting to see the trends in sounds, particularly in dubstep, when one way of producing a sound has become “cool” and another has moved out of fashion. I think it’s cool that the release of a software synth can affect the whole sound of a genre, and the listeners and fans of that music aren’t really any the wiser on why that’s happened; they just know it sounds cool.

Pre-order Wild to the Kore EP here.

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