B.O.M

B.O.M is the stage name of Cameron Arnold. He is a Sydney-based producer and DJ working between drum and bass and dubstep. Management and agency profiles list releases on Atlantic Records, CruCast, Big Beat, Disciple and Buygore, and his credits include official remixes and singles such as a drum-and-bass remake of Ian Carey’s "Get Shaky".

Public biographical detail beyond those credits is limited. What is verifiable from profiles and release pages is that Arnold operates from Sydney, Australia, and that his recorded output and remix work span both mainstream and bass-heavy independent labels. His performance history in Australia includes sets at Festival X and Touch Bass, and his tracks have been picked up for official Spotify and Apple Music playlists.

As a producer B.O.M. works across two related but distinct styles. On his dubstep releases — the material released via labels like Disciple and Buygore — the emphasis is on low-end weight and aggressive midrange design: processed bass textures, clipped and distorted growls, and tight transient shaping on kicks and snares. On his drum-and-bass material — including the "Get Shaky" remake — he rebuilds vocal hooks and melodic fragments into break-driven arrangements, using chopped vocal edits, layered sub-bass and quantised breakbeat edits to lock the rhythm. Signature elements across his output include pitched vocal chops, dense bass layering and hard-edged mix decisions that prioritise low-frequency impact.

B.O.M’s track and remix credits are concrete touchpoints for his role in the scene. The drum-and-bass remake of Ian Carey’s "Get Shaky" is cited among his official singles and remixes. Labels credited on his releases range from Atlantic Records and Big Beat (major/major-adjacent outlets) to CruCast, Disciple and Buygore (bass-focused imprints). He has also worked with UK MCs Mr Traumatik, Local, Fernquest, PDX and Tanz on vocal collaborations and featured cuts.

Documented industry placements include official playlists on Spotify and Apple Music and bookings at Australian events such as Festival X and Touch Bass. Beyond those verifiable items, public statements about early influences are scarce; his concrete scene connections are the label catalogue and the listed UK MC collaborations. The combination of major-label releases and bass-label singles is a practical marker of his cross-genre positioning between drum and bass and dubstep.