Clarence, New York's Goblin Hovel draw equally from folk tradition and doom metal's downcast weight, weaving a sound that feels ancient and mournful in equal measure. Since 2012, they've ranged across folk, doom, and neofolk with a restless, world-building imagination.

Suffocating Sludge / Doom Metal from Houston.

Emerging from Salinas in 2012, Gods in Graves pull from black, death, and doom metal in equal measure — weaving cold tremolo runs through cavernous low-end and suffocating atmosphere. The result is something genuinely sepulchral.

Vermont's Gorcrow fuse crust punk's DIY spite with doom metal's glacial tempos since 2014, producing something that feels equally at home in a basement show or on a desolate hillside. Ugly, heavy, and earnest.

Connecticut's Gorge have been filling the space between doom and sludge with dense, slow-rolling heaviness since 2015 — Simsbury's contribution to a tradition of New England bands that take the heavy in heavy metal seriously.

Sonoma, California's Gorge blend death metal's mordant aggression with doom's unhurried pace since 2015, cultivating an atmosphere of rot and weight amid the wine country's rolling hills. The contrast feels entirely intentional.

Heavy Doom Metal from Austin.

New Jersey's Gorthon have been crafting sludge-doom with weight and patience since 2021, building songs that move like slow erosion — unhurried, inevitable, and considerably heavier than anything that moves that slowly has any right to be.

Columbus, Ohio's Grael began life trading in gothic doom and pivoted toward psychedelic stoner territory, tracing a natural arc from shadow to smoke. Their music carries an underlying mysticism that connects both phases of their evolution.