From Elmore, Vermont, Green Chapel bring a pastoral, earthy quality to stoner metal — fuzz-heavy and slow-burning, with an atmosphere that calls to mind ancient woods rather than desert highways. Formed in 2016, they make heavy music with a distinctly northeastern character.

Formed in Denver, Colorado in 2014, Green Druid play a psychedelic strain of stoner doom that leans into Lovecraftian atmosphere and isolationist weight rather than simple Sabbath worship. Their 2018 debut Ashen Blood on Earache Records established the band's slow-burning, riff-heavy approach, followed by At the Maw of Ruin in 2020, which expanded the sonic palette while preserving the fundamental density. The band approaches the genre with enough self-awareness to actively push beyond its conventions.

Brooklyn's Green Hog Band blend psychedelic rock, stoner riffing, and doom-paced heaviness into something loose-limbed and groove-driven. Since 2020 they've been staking out the cosmic, smoke-hazed intersection of those worlds in New York City's underground.

New Jersey's Green Inferno draw their name from the cannibal horror tradition and channel that aesthetic into slow, suffocating doom metal built on mountainous riffs. Since 2019, they've been making music as heavy and unpleasant as the films that inspired them.

Green Mist operate in the raw, unpolished margins of black metal — thin production, corrosive guitar tones, and a cold atmosphere that seeps in like fog. Active since 2021, this project finds its power in intentional austerity rather than studio polish.

Dallas stoner/doom trio. Massive fuzzy riffs and heavy grooves.

Louisville, Kentucky's Greyhaven emerged in 2013 with a brand of chaotic, noise-infused metalcore that feels genuinely dangerous. Their albums 'Empty Black' and 'This Bright and Beautiful World' pair dissonant guitar work with frantic vocal delivery, creating a sound that's as intellectually stimulating as it is viscerally intense. The band's refusal to follow trends in favor of their own abrasive vision has earned them a devoted following among fans of adventurous heavy music.

Greyhawk play classic heavy and power metal with a heroic, high-fantasy pulse. Ride Out introduced the band's appetite for galloping riffs and big melodic gestures, while Keepers of the Flame gave that style a full-length stage: twin-guitar leads, charging rhythms, clean theatrical vocals, and choruses that sound written for raised fists rather than studio restraint. Call of the Hawk kept the momentum alive with compact, riff-forward songs, and Thunderheart pushed the band into a broader melodic power-metal space with "Spellstone," "Ombria (City of the Night)," and the title track showing different sides of their approach. The lineup's strength is its balance of old-school conviction and lively playing. Darin Wall's bass and the drums keep the songs driving, Jesse Berlin and Rob Steinway bring the shred and harmony work, and Rev Taylor's voice gives the material a recognizable dramatic profile. Greyhawk's themes lean into fantasy, perseverance, and mythic imagery, but the appeal is not just escapism. The songs are built on sturdy riffs, bright solos, and the kind of triumphant pacing that makes traditional metal feel immediate.

Named for a Massachusetts peak, Boston's Greylock translate the weight of the New England landscape into sludge-infused doom — massive, slow-moving, and carrying a certain northeastern bleakness. Active since 2015, their sound feels carved from granite.