Record #1009: Cold Gawd – I’ll Drown on This Earth (2024)

If it accomplished nothing else, God, Get Me the F*** Out of Here proved that shoegaze and hip hop aren’t entirely without overlap. Cold Gawd plugged their reverb pedals into their fuzz boxes and played with the spirit of hip hop. Only two years later, the SoCal outfit is back with a record that turns that concept up to eleven.

But I’ll Drown on This Earth borrows more than just aesthetic and mood. The vocals are often run through the same sort of autotune as Rihanna or T-Pain. Grooves are beefier and boomier. The skits are even more pronounced. And all this while also becoming more experimental and ambient.

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Record #897: Cold Gawd – God Get Me the Fuck Out of Here (2022)

For all of its neon atmospheres and purple-hued aesthetics, shoegaze is a little monochromatic when it comes to skin tone. The demographics of both shoegaze fans and musicians typically skew a bit more caucasian than their relative populations.

This isn’t a unique phenomenon in alternative, punk, or metal genres, and I’m not here to dissect the myriad of social issues that created it. But to my knowledge, there haven’t been too many notable exceptions in shoegaze (please correct me if I’m ignorant).

But then there’s Cold Gawd. Originally formed as a solo project of lead singer Matt Wainwright, their brand of shoegaze is as equally indebted to genre mainstays like Nothing and Slowdive as R&B artists like Solange and 90s hip hop aesthetics.

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