Portland, Oregon's Grave Monolith traffic in funeral doom metal of suffocating patience — slow processions of grief and inevitability stretched to their absolute limits. Formed in 2023, they build monuments out of silence and drone as much as sound.

New Jersey's Guthook inhabit the most desolate end of funeral doom, stretching songs into extended meditations on grief and decay while weaving in death metal's tonal brutality. Active since 2014, they operate in real slow-motion darkness — the kind that takes hours to lift.

Hellish Form push doom to its most suffocating extreme, folding sludge's abrasive texture into funeral doom's glacial pace and near-unbearable weight. Formed in 2020, they embrace desolation as an art form — slow, suffocating, and strangely beautiful.

Hellmask operates in the furthest reaches of funeral doom and ambient metal, crafting recordings since 2017 that feel less like songs and more like long descents into irreversible darkness. Atmosphere is the entire purpose here, and they wield it with unsettling mastery.

Oklahoma City's atmospheric sludge/funeral doom practitioners have been building slow, suffocating cathedrals of sound since 2014 — oppressively heavy, devastatingly patient, and steeped in the flatland desolation of the Great Plains.

Named after the mythical Lovecraftian city of the gods, Kadath are a funeral doom outfit from Ephrata, Pennsylvania, conjuring glacially slow, suffocating heaviness since 2018. Their music wallows in sorrow and enormity, built for listeners who find comfort in the abyss.

Richmond, Virginia's Lair descend into funeral doom and sludge territory so low and slow it feels geological, pressing listeners into the earth one agonizing riff at a time. Formed in 2019, they've become one of the South's most crushing doom acts.

Lycus formed in Oakland, California in 2008, operating in the most extreme end of the funeral doom spectrum while incorporating textures from black metal, noise, and shoegaze. Their debut LP Tempest (2013) featured three massive tracks ranging from ten to twenty minutes, drawing comparisons to Mournful Congregation and Asunder. The follow-up Chasms (2016), recorded at Atomic Garden Studios with producer Jack Shirley, distilled their approach into four immense compositions of deep, deliberate gloom.

San Diego's Messial have pursued one of the most demanding and desolate corners of extreme metal since 2014, merging funeral doom's vast, suffocating tempos with death metal's tonal brutality into music that operates at geological speed. Their approach requires the listener to surrender to duration and weight — each composition an extended descent into something cold, crushing, and without comfort.