Portland, Maine's Mugwort is a sludge-doom project that trades in oppressive atmosphere and crawling tempos, reflecting the cold, isolated quality of the Northeast in every slow, crushing note.

Lancaster, Pennsylvania's Mule Thrower arrived in 2021 with a sludge-doom sound as stubborn and heavy as their name implies — slow, punishing, and built on the kind of oppressive riffing that demands physical submission.

Portland, Oregon's Mursa channels the city's deep well of heavy music into caustic sludge metal built on slow, punishing riffs and abrasive texture. Active since 2013, the band embodies the grimy, feedback-laden aesthetic that defines the Pacific Northwest's harder underground.

Baltimore, Maryland's Musket Hawk mash grindcore's explosive brevity against the tar-thick riffs of sludge metal, producing something uglier and more chaotic than either genre alone would permit. Since 2013, they've been a fixture in Baltimore's exceptionally fertile heavy music underground.

Brooklyn's Mutant Scum drag sludge metal through New York's gutter, mixing the genre's tar-slow heaviness with punk's frantic energy and street-level aggression. Since 2015, they've added a properly filthy strain of noise to a borough overflowing with heavy underground acts.

Brooklyn's Mutoid Man fuse sludge and stoner metal into something swaggering and overpowering — thick, groove-laden riffs married to a rock sensibility that keeps their sound dynamic and weirdly infectious since 2014.

Formed in 2025 in Winchester, Virginia, Muttering Bog dwell in the murky overlap of doom, sludge, and stoner metal, conjuring the kind of slow, oppressive heaviness that matches the name's imagery of still, dark water.

Nashville's My Wall stacks the crushing weight of doom and sludge metal atop a stoner-rock foundation, building slow-burning riffs soaked in fuzz and Southern grit that grind forward with deliberate, hypnotic heaviness.

A brand-new entrant from Seattle's fertile heavy underground, Mycon formed in 2025 and pursues a doom/sludge hybrid rooted in oppressive low-end and glacially paced riffs befitting the gray, rain-soaked Pacific Northwest.

Washington State's Myopic defies easy categorization by drawing equally from sludge, black, death, and doom metal, blending these traditions into a dense, multi-layered extremity that has evolved steadily since the band's formation in 2011.

Oklahoma City's Mywitchmyblood drag black metal's icy menace through the swamp of sludge and doom, producing something slow, ugly, and corrosive since 2017. The three-genre collision gives the band a distinctly Southern gothic weight uncommon in the region's extreme metal scene.

Portland's Nanda Devi — named for the Himalayan peak — channels the weight and grandeur of their namesake into towering sludge and post-metal built for rainy Pacific Northwest introspection. Formed in 2019, the band favors breadth over speed.

Johnson City, Tennessee's Navajo Witch ladles sludge over a doom framework, conjuring the dark folklore of Appalachia through slow, punishing riffs since 2013. Their southern heaviness has a ceremonial dread to it.

New Jersey's Negative Bliss arrived in 2024 at the intersection of sludge, doom, and post-metal — genres that share a fondness for letting weight do the work. Their music expands slowly, trading velocity for gravitational pull.

Los Angeles's Night City drags industrial machinery into the sludge pit, layering mechanical abrasion over slow, suffocating riffs built for neon-lit urban decay. Dystopian heaviness for a city that never sleeps.