Dungeon Crawler hail from the small town of Manawa, Wisconsin, where they formed in 2019 with a sound anchored in classic heavy metal riffs dragged through doom's tar-thick tempos. The isolation of rural Wisconsin seems to seep into their music, which favors atmosphere and weight over flashiness. Think midnight rituals in a Midwestern basement — heavy, deliberate, and entirely self-sufficient.

Santa Cruz, California's Dvvell emerged in 2022 with a sound rooted in the heaviest end of sludge and doom — plodding tempos, down-tuned guitar tone, and a suffocating atmosphere that rewards patience from the listener.

A recently formed Oakland, California band, Dwel draws equally from sludge, doom, and post-metal's expansive sonic vocabulary, building dense, slow-burning compositions that owe as much to atmosphere as they do to raw heaviness.

Frederick, Maryland's Dweller in the Valley has navigated the crossroads of black, death, and doom metal since 2013, weaving together extremity and desolation into a sound that is as bleak as the genre tags suggest.

Out of Marfa, Texas — a remote high-desert art town as far from a thriving metal scene as you can get — E.E.O.G. trades on slow, sun-cooked doom and stoner riffs that feel as wide and empty as the Chihuahuan landscape outside their door.

One of the more singular acts in American heavy music, Eagle Twin emerged from Salt Lake City in 2009 to build an uncompromising wall of drone-heavy sludge doom, where riffs don't so much crush as they slowly collapse under their own gravity.

Portland's Ealdath has been threading doom and death metal together since 2014, drawing on the Northwest's overcast atmosphere to give their sound a particularly cold and funereal weight.

Formed in Los Angeles in 2020, Early Moods arrived in the middle of a doom revival and immediately distinguished themselves with a hazy, vintage-leaning sound that owes as much to '70s hard rock as it does to contemporary doom.

The Olympia originals. Earth essentially invented drone doom in the early 1990s, and Dylan Carlson's project has never stopped pushing — from the sub-bass cathedral of their early work to the spaced-out psychedelic territory they've since occupied.