A sludge metal outfit from Fayetteville, Arkansas, Sinking South have been grinding out slow, heavy, feedback-drenched material since 2014, channeling the swampy weight of Southern sludge into a distinctly Ozark-edged sound.

St. Louis band formed in 2023 that drags death metal into sludge metal's murky, slow-burning territory, resulting in music that is both punishing and dense with atmosphere. As a very new act out of a city with a strong underground metal tradition, they arrive with an already fully-formed sense of the crushing and the heavy.

Orlando, Florida sludge and stoner metal band active since 2010, locking into slow, tar-thick grooves and feedback-laden heaviness with the swampy persistence that Florida's humid underground breeds. Their name alone signals the kind of bleakly humorous, road-worn vibe their music inhabits.

Los Angeles sludge and doom metal band formed in 2017, operating in the long shadow of the city's thriving heavy underground with dense, slow-moving riffs and the kind of suffocating atmosphere that characterizes the best of the West Coast doom scene. The "sixesdoom" Bandcamp tag underscores where their loyalties lie.

Painesville, Ohio sludge metal band formed in 2014 — their name leaves little ambiguity about aesthetic intent, leaning into the devil's number with the unapologetic heaviness of a band committed to grinding noise and oppressive low-end. The Lake Erie industrial belt has produced plenty of mean, ugly heavy music, and SixSixSix fits that lineage.

Skaven is an Oakland, California sludge metal and crust punk band formed in 2004, rooted in the Bay Area's long tradition of heavy, filthy music that draws equally from Neurosis and His Hero Is Gone. Their sound is oppressive and slow-burning, built on feedback-soaked riffs and punk urgency.

Skeleton Screen is a Denver, Colorado post-metal and sludge metal band formed in 2020, building slow-burn songs from layers of distorted guitar, dynamic shifts, and the kind of punishing low-end that the Midwest and Mountain West underground has consistently produced. Their work occupies the emotionally heavy territory between Neurosis-style post-metal and traditional sludge.

Seattle's Skell has been grinding out thick, suffocating walls of sludge, drone, and doom since 2017, embodying the Pacific Northwest's long tradition of heaviness with slow-crawling tempos and abrasive textures built to crush.

San Francisco's Skin Horse has been wading through thick sludge and crushing doom since 2016, drawing on the Bay Area's fertile heavy underground to craft slow, oppressive music with the weight of the Pacific behind it.

Huntington, West Virginia's Skincarver has been churning out sludge-drenched doom since 2016, embodying the heaviness that comes naturally to a hard-luck Appalachian city with a long history of hardship and a taste for music that doesn't flinch.

Heavy Sludge / Death Metal / Hardcore out of Texas.

Corona, California's Skinslip work the intersection of sludge and doom, conjuring slow, weight-bearing riffs that reflect the smoggy, sun-bleached desolation of the Inland Empire since their formation in 2014.

Fresno's Skull Incision have been active since 2010, working in the ugly overlap between death metal, grindcore, and sludge — a combination that makes for short, punishing tracks coated in downtuned filth and California Central Valley grime.

Winston-Salem's Skullcollector have been wallowing in the tar-thick overlap of doom, sludge, and stoner metal since 2013 — a North Carolina act that favors bone-heavy riffs, deliberate tempos, and a tone that sounds permanently coated in smoke.

Denver's Skully Mammoth have been hauling sludge metal's tar-slow riffs through Colorado since 2011, channeling the suffocating heaviness associated with acts like Eyehategod and Crowbar. The band builds around massive, deliberate tempos and a tone that sounds like it's been dragged through miles of mountain grime.