Orlando's Shake the Castle Wall move fluidly between hard rock and doom metal, grounding their heavy riffs in classic rock sensibility without sacrificing weight or atmosphere. Formed in 2015, the band reflects Florida's diverse heavy music scene with a sound that draws as much from 1970s rock as it does from the doom tradition.

Baltimore's Shakeface sit in the grim intersection of doom and death metal, piling on cavernous, slow-grinding riffs that carry the suffocating quality that the city's underground scene has long produced. Since 2011, the band has refined a sound built around dense low-end heaviness and the kind of deliberate pacing that makes every note feel earned.

Rooted in Las Cruces, New Mexico, Shalem draw on the arid landscape of the Southwest in their blend of heavy, doom, and stoner metal — music built for wide-open spaces and the psychedelic heat of the high desert. Active since 2009, they bring a laid-back but weighty approach that mixes earthy riff-rock with the slow, lumbering pulse of doom.

Birmingham, Alabama's Shallow Black emerged in 2022 playing sludge and doom metal that carries the tradition of Southern heavy music through a particularly thick and miserable lens. Their approach connects to the long lineage of Southeastern sludge, channeling slow-moving, pitch-black riffs with an uncompromising heaviness.

Shalrath is an American solo or small-unit project operating in the crushing overlap of funeral doom, black metal, and death metal — a trio of extreme forms rarely fused with this much deliberate patience since the project's 2013 formation. Their sound moves at glacial tempos with a suffocating atmosphere drawn equally from the void-seeking qualities of each genre.

Fort Worth's Sharpy operate at the slow, contemplative end of metal's spectrum, fusing progressive doom with post-metal's textural depth since 2011 and contributing to North Texas's underappreciated experimental heavy scene. Their compositions favor gradual dynamic shifts and atmospheric density over conventional song structures, building weight through patience and layering.

Named for a fallen angel of Jewish mystical tradition, this Warrior, Alabama act works in the crushing slowness of funeral doom metal, conjuring suffocating atmosphere and grief-laden dirges since 2025.

Denver's Shepherd operates in the slow and the crushing, blending doom, sludge, and post-metal into a heavy and introspective sound that mirrors Colorado's vast and brooding landscapes.

Chicago doom act Sherm leans into the slow burn of traditional doom, delivering heavy and hypnotic riffing that fits naturally within the Midwest's long tradition of oppressive, dirge-driven metal.

A Little Rock, Arkansas act born in 2021, Shitfire fuse the crawling weight of doom with sludge's nasty low-end aggression, channeling the swampy heaviness of the mid-South into dense, slow-burning walls of distortion.

Named after H.P. Lovecraft's tentacled aberrations, Albuquerque's Shoggoth have been summoning Lovecraftian doom and stoner metal since 2019, combining the high desert's psychedelic atmosphere with slow, cosmic heaviness well-suited to New Mexico's otherworldly landscape.

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Kalamazoo, Michigan's Shoto navigate the bleak terrain between experimental sludge and doom, crafting slow, oppressive soundscapes that push beyond genre convention into genuinely unsettling sonic territory since forming in 2019.

Portland, Oregon's Shrine of the Serpent have been crafting funeral-paced doom/death metal since 2015, their suffocating sound built on glacial tempos, cavernous production, and an atmosphere of irreversible dread that defines the Pacific Northwest's heaviest underground currents.

San Francisco's Shrinebuilder are a supergroup formed in 2009 from members of Sleep, Neurosis, The Melvins, and Scott Kelly's solo projects, combining stoner and doom metal traditions into monolithic, lysergic compositions that draw from the full weight of their members' combined legacies.