Hold The Bombs Please

In the modern day, its become increasingly evident that any given punter listens to music not based on the quality of audio but rather the aesthetic appeals of doing so. For example, a crappy song made by dudes who are ‘heaps dope’ and put ‘tonnes of chicks’ in their music videos is better than a great song written by a guy who doesn’t shuffle, wear a visor or throw west side signs. It’s sad, but modern day EDM has reached a point where you can well and truly make up for horribly repetitive cheesy electro songs by becoming the ultimate bro. Don’t get me wrong, marketing and positioning has always been a big part of producer and DJ success, but not until recently had it outweighed talent and creativity.

Putting their extremely mildly tailored breed of mainstream electro aside, Bombs Away are a good example of this conceptually frustrating trend. Using a ridiculous arsenal of lyrics and questionable marketing methods to sell what can only be described as ‘boganlectro’, they are unanimously sought after Australia wide. Despite having feminists cringing on a global scale, their smash hit ‘Big Booty Bitches‘ and the ever popular ‘Supersoaker‘ have tapped into a cohort of followers that religiously smash out these repetitive and often frustrating tunes. Whether it be at a bush doof, in a commodore or on the lunch break at school, people are not only playing these tunes but they are actually enjoying them. On the back of their latest release about water pistols, so many questions continue to go unanswered as to how Australians continue to lap up EDM audio of this calibre. How can this style of music become so popular here? How do lyrics about a water blaster from Kmart reign supreme in a land full of amazing producers? Why do they wear visors still? Has Super Soaker fucked Australia for good?

In regards to logistics, what they have done is astounding, there is no denying that. After one year they hold a whopping 60,000+ fans on Facebook, sport well over a million Youtube video views, tour the nation frequently and are appearing at the upcoming Stereosonic festival. Their Soundcloud statistic’s are impressive, but don’t quite stack up given the fact their target audience (13 to 17 year old tween ravers) don’t use the platform as much as YouTube. The same can be said for their Twitter, with less than 1000 people deciding to comply with their daily dose of insightfulness (@BombsAwayMusic; Nov 10th – just chillin, got an 11 dollar parmigana, stoked). Most of the above, without doubt, culminates in what would appear to be a tasteful production duo. This all goes out the window when you listen to their music or view one of their videos on YouTube.

It’s all frustrating to say the least, but who can blame them. If there is a legitimate market for this brand of electro and the scantily clad babes dancing around getting shot by K-marts latest SuperSoak-3000 range, power to them for taking advantage of it. It’s a smart business decision and clearly something that’s worked well for them. In saying that, this kind of audio is single handedly solidifying global opinions about Australia being behind the times in an underground musical sense.

Categories: Short & Sharp
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