Indianapolis punk/black metal hybrid Orga keep things raw and confrontational, stripping the genre down to its most primitive instincts and letting velocity do the work. Formed in 2016, they represent the uglier, more anarchic side of the Midwest underground.

Atwater, California's Organ Harvester arrived in 2024 playing brutal death metal and goregrind with all the subtlety the name implies — grotesque, blasting, and surgically relentless. Central Valley brutality at its most visceral.

Organismos is a death metal/grindcore band from Medellín, Antioquia, Colombia, active since 2001. The band features members with roots in the Colombian underground scene, including a guitarist who previously played in pioneering Colombian acts Parabellum and Herpes. They have released three full-lengths — "Organismos" (2006), "Manejos Invisibles" (2011), and "Control del Miedo" (2017) — on labels including Me Saco un Ojo Records and Tribulación Productions.

Late-'90s industrial rockers Orgy scored a massive hit with their synth-drenched cover of New Order's 'Blue Monday,' perfectly capturing the era's appetite for electronic-infused alternative metal. Jay Gordon's slick vocals and the band's darkwave-meets-nu-metal aesthetic on 'Candyass' made them fixtures of the MTV and Ozzfest circuit alongside their Korn-affiliated labelmates on Elementree Records.

Origami Angel are a Washington, DC duo built around Ryland Heagy and Pat Doherty, and their music helped define a hyper-energetic corner of modern emo and pop punk. Early EPs such as Quiet Hours, Doing the Most, and Gen 3 led into Somewhere City, a record whose fast transitions, bright guitar work, and emotional sincerity made the band's "Gami Gang" world feel both playful and deeply felt. GAMI GANG expanded the approach into a sprawling set of songs that bounce between emo, pop punk, indie rock, mathy guitar turns, and occasional heavier bursts without losing a sense of friendship and momentum. The Brightest Days and Feeling Not Found show the duo becoming more concise while still treating genre as a flexible toolkit. Origami Angel's heaviness is usually emotional and kinetic rather than metallic, but the punk foundation is clear in the speed, drumming, and shout-along urgency. Their songs often sound joyful even when anxious, making technical movement and vulnerable writing feel like parts of the same breathless conversation and release.

Nashville, Tennessee's Origami Flowers started in folk and indie rock before finding their footing in stoner and doom metal, a journey that shows in the melodic sensitivity they bring to heavy riffs. There's something peculiarly Southern about their earthy, unhurried approach to weight.

Long Island's Original Sin carry the speed and power metal torch with old-school conviction, invoking the twin-guitar tradition of NWOBHM and early American power metal on records built for those who think the genre's golden era never had to end.

Wyoming's Original Sin deliver no-frills thrash metal out of one of the most sparsely populated states in the country — lean, fast, and without pretense, fitting perfectly into the tradition of underground American thrash that never needed an audience to justify itself.

Houston's Orisonata blend symphonic grandeur with progressive metal's structural complexity, producing music that swings between sweeping orchestral passages and intricate instrumentation. They represent a more ambitious, cinematic strain of the Texas metal underground.