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Stoner Metal is a sub-genre of metal music that rose into prominence in the early 1990's, pioneered by bands such as Kyuss, Monster Magnet, Sleep, as well as the grunge band Soundgarden. The genre is known for it's fusion of the sludgy riffing of doom metal, the fuzzy distortion of psychedelic rock, and various other styles of music such as blues rock and southern rock.

The origins of the genre is often attributed to early metal bands like Black Sabbath and Blue Cheer. The former's Master of Reality album of 1971 was especially influential in the development of the genre, sometimes even being cited as the first stoner metal album. Space Rock pioneers Hawkwind are also noted to have a substantial impact on the genre, with many stoner rock and metal bands taking elements from space rock. Stoner Metal pioneers Monster Magnet covered Hawkwind's "Brainstorm" on their 1993 album Superjudge. Hardcore punk is also sometimes cited as influencing the genre, with Kyuss's Josh Homme and John Garcia stating Black Flag's My War album of 1984 as having an impact.

Some stoner metal bands took more from blues rock and southern rock, and blended it with their own take on the stoner sound. Corrosion of Conformity and Clutch are among these acts, with the former starting out as a crossover thrash/hardcore punk band in the 80's before bringing in a southern/stoner sound on their 1991 album Blind. Speaking of hardcore, bands such as High on Fire and Kylesa are often considered stoner-sludge metal due to their common usage of hardcore punk elements.

Stoner-doom metal: Stoner doom was pioneered by bands such as Sleep and Cathedral, who started their careers playing traditional doom metal. While much of stoner metal takes influence from doom metal, stoner doom puts more emphasis on said influence. Notable examples include Sleep's Dopesmoker, Cathedral's The Carnival Bizzare, Electric Wizard's Dopethrone, and Acid King's Busse Woods. Some stoner doom releases are placed under doom if there is more of a focus on doom than a balance between the two.

Stoner Rock, while having much in common with it's metal offshoot, has less of a focus on the metal aspect of the sound and is included in the Hard Rock sub-genre on MMA.

- Biography written by Unitron.

Sub-genre collaborators (shared with Doom Metal and Drone Metal):
  • Nightfly (leader)
  • MorniumGoatahl

stoner metal top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching

KYUSS Welcome To Sky Valley Album Cover Welcome To Sky Valley
4.39 | 41 ratings
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ELECTRIC WIZARD Come My Fanatics... Album Cover Come My Fanatics...
4.42 | 19 ratings
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CATHEDRAL The Garden of Unearthly Delights Album Cover The Garden of Unearthly Delights
4.32 | 25 ratings
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CORROSION OF CONFORMITY Deliverance Album Cover Deliverance
4.35 | 15 ratings
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CORROSION OF CONFORMITY Wiseblood Album Cover Wiseblood
4.34 | 14 ratings
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ELECTRIC WIZARD Dopethrone Album Cover Dopethrone
4.25 | 36 ratings
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SLEEP Dopesmoker Album Cover Dopesmoker
4.25 | 28 ratings
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YOB The Illusion of Motion Album Cover The Illusion of Motion
4.33 | 9 ratings
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SHRINEBUILDER Shrinebuilder Album Cover Shrinebuilder
4.37 | 7 ratings
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DOWN Down II: A Bustle in Your Hedgerow... Album Cover Down II: A Bustle in Your Hedgerow...
4.27 | 11 ratings
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THE SWORD Gods of the Earth Album Cover Gods of the Earth
4.22 | 14 ratings
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DOWN Down III: Over the Under Album Cover Down III: Over the Under
4.21 | 11 ratings
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stoner metal Music Reviews

CATHEDRAL Supernatural Birth Machine

Album · 1996 · Stoner Metal
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"Supernatural Birth Machine" is the 4th full-length studio album by UK doom/stoner metal act Cathedral. The album was released through Earache Records in November 1996. It´s the successor to "The Carnival Bizarre" from 1995 and features the same four-piece lineup as the predecessor. So with this release it was cemented that Cathedral would continue with only one guitarist in the lineup, which is something that drastically changed their sound on "The Carnival Bizarre (1995)" compared to the twin guitar doom metal style of the first two albums.

"Supernatural Birth Machine" pretty much continues down the same doom/stoner metal style of its predecessor. It´s generally a little less doomy and slightly more hard rocking, but other than that it´s a natural successor in terms of sound and style. The one guitar approach provides a relatively simplistic touch, just like the case was on the predecessor, but the focus is still on heavy and organic played riffs and rhythms and Lee Dorrian´s often out of tune raw shouting vocals. There is a certain unique charm to his delivery, but damn the man can´t hit a clean note if his life depended on it.

The material on the 11 track, 58:00 minutes long album is relatively well written. There´s nothing offensively bad featured on the album, but there aren´t many highlights worth a mention either. It´s pretty standard quality doom/stoner metal, which could have prospered from more catchiness and a generally more hook oriented songwriting approach. Way too many of the tracks just pass by without leaving a lasting impression. The sound production is organic and relatively well sounding, but it lacks slightly in the punch department. The band are as always well playing, and all in all "Supernatural Birth Machine" is a decent release by Cathedral. Taking their full discopgraphy into account it´s one of their least interesting releases though, and a 3 star (60%) rating is fair.


Album · 2010 · Stoner Metal
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"Black Masses" is the 7th full-length studio album by UK stoner/doom metal act Electric Wizard. The album was released through Rise Above Records in November 2010. There´s been one lineup change since "Witchcult Today (2007)" as bassist Rob Al-Issa has been replaced by Tas (Real name Tasos Danazoglou).

Stylistically it´s more or less a continuation of the stoner/doom metal style of the predecessor. It´s filthy, distorted, dark, psychadelic, and occasionally quite aggressive. Electric Wizard have always been masters of striking a good balance between crushingly heavy occult themed darkness and psychadelic stoned out jamming. Sometimes it has worked wonders and sometimes it´s been a little less successful. "Black Masses" features both excellent moments and less interesting ones. Typically the more structured parts of the tracks on the album work really well. Aggressive, distorted, and desperate sounding vocals by lead vocalist/guitarist Jus Oborn, crushingly heavy riff and rhythms, all packed in an organic and raw sounding production, which suits the music perfectly. Most tracks have a tendency to drag on for too long though, often closing with what seems like endless repetition of the same riffs/rhythms layered with feedback noises and psychadelic effects. It works well for a minute or two, but then those sections overstay their welcome. The inclusion of the dark droning 8:49 minutes long instrumental "Crypt of Drugula", which closes the album, is also a bit hard on the ears of the listener who just wants something recognisable to hang on to.

When that is said I always praise uncompromising artists, and Electric Wizard definitely belong in that catagory. They obviously play exactly what they want to, when they want to, and although they have a basic musical formula, which has worked well for them for years, they don´t necessarily try and replicate their greatest successes. Upon conclusion "Black Masses" is another quality stoner/doom metal release by Electric Wizard and although it may not be their most innovative album nor their most high quality work a 3.5 star (70%) rating is still well deserved.

DIRT WOMAN The Glass Cliff

Album · 2020 · Stoner Metal
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siLLy puPPy
DIRT WOMAN is a newer stoner metal band from Ocean City, Maryland from a state that has had more than its fair share of stoner / doom metal bands (think Spirit Caravan,The Hidden Hand, Earthride, Obsessed). Featuring the lineup of Avery Mallon (drums), Kearny Mallon (guitar) and Gabe Solomon (guitar), it’s the addition of female lead singer and guitarist Zoe Koch that sets DIRT WOMAN apart from most similar minded stoner doomers.

There are a few instant reactions to this band and its debut album THE GLASS CLIFF. First of all, lame band name but cool cover art. Not sure what bands are thinking when they come up with completely unremarkable monikers but perhaps they were all stoned! Hehe! Whatever the case, DIRT WOMAN really knows how to crank out some high octane fuzz fueled guitar riffage laced with plodding rhythmic drives and monotonous and oft hypnotic spacey effects.

Of the five tracks that almost engulf an hour of your life, three race well past the thirteen minute mark so what you can expect on THE GLASS CLIFF is a series of receptive bass grooves that slowly cascade of accompanying guitar riffs that vary from soft echoey highlights to full-on distortion and din making raucous. While set back in the mix, Zoe Koch’s vocal style still emits a distinct feminine vibe as if some high priestess was piercing the veil to offer advice from another dimension only reached through licking toads or something.

With twin guitar action stampeding throughout the album’s run, DIRT WOMAN is heavy like Electric Wizard but also has touches of Black Sabbath inspired riffs and other traditional doom metal stalwarts like Saint Vitus but everything resonates in a reverberant fuzz-drenched fury more like Sleep’s classic stoner metal meltdowns. The strength of the album is its apparent study of the craft and it doesn’t deviate from the stoner metal norms which after a near hour’s worth of stoner fuzz also is its downfall as the tracks become monotonous.

While there are just enough variables to keep THE GLASS CLIFF from generating the more tiresome ennui, the 13 minute tracks do churn on a bit too long for their own good. Out of the lot, my favorite is the closing “Starhawk” which offers the most melodic variations of the album as well as showcasing Koch’s vocal style beyond a droning shout through the din. While i can’t say DIRT WOMAN is on my list of favorite up and coming bands, i have to say at least that this band’s debut full-length THE GLASS CLIFF is an enjoyable listen although drowned in the sea of similarly minded acts that are a tad more exciting.

TORCHE Meanderthal

Album · 2008 · Stoner Metal
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Released in Spring of 2008, “Meanderthal” is the second studio album from Floridian stoner metal outfit Torche – a band comprising members of sludge metal bands Floor and Cavity. Vocalist and guitarist Steve Brooks continues Floor’s legacy of combining crushingly heavy riffs with melodic clean vocals to great effect. Stoner metal is not the first thing that springs to mind when listening to “Meanderthal” but pop-tinged sludge - something akin to a fusion of Cavity and Jimmy Eat World with a trace of psychedelic rock thrown in.

The aptly titled opener “Triumph of Venus” gets things off to a superb start with it’s ultra downtuned and heavy rhythm guitar alongside powerful, thundering drums and layers of triumphantly blistering lead guitar which is reminiscent of the more melodic side of Mastodon and really sets things up nicely for the remainder of the album.

Unusually, the dirty sludge riffs and chord progressions tend to be played in a major key which, alongside the highly melodic vocals, provides a sun-soaked, accessible form of sludge which I find equally uplifting and addictive although at the same time, I can appreciate that few bands would be capable of pulling off this mix of sounds successfully. The album reaches its sludgiest point on the penultimate and final tracks “Amnesian” and “Meanderthal” which alongside “Grenades” and the aforementioned opener “Triumph of Venus” are the biggest highlights of the album for me.

“Meanderthal” is not an album which displays huge amounts of variance or technical complexity so clocking in at a shade over 36 minutes in length is entirely appropriate for the style of music as it negates the chance of growing prematurely stale.

I would highly recommend this album to fans of Floor and to any open minded metal fan willing to look past the accessible and poppy qualities mentioned above and try something a bit different. A great uplifting release and great summer listening.


Album · 1994 · Stoner Metal
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The first of several fantastic Corrosion of Conformity albums that are all time favorites, Deliverance is the first album of theirs with Pepper Keenan on lead vocals, and what a start for one of my favorite vocalists. A beautiful mixture of grunge, southern rock, heavy metal, and even a moody country song. I've always really liked COC, but it hasn't been until recently when they've become one of my favorite bands. Such a passionate performance, with soulful introspection and they emote so much.

From the lumbering Albatross, the wonderfully melodic Clean My Wounds, the swagger of Senor Limpio, the stomping title track, the country Shelter, the climatic finale Pearls Before Swine, I love it all.

stoner metal movie reviews


Movie · 2001 · Stoner Metal
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Corrosion Of Conformity’s Live Volume: The Movie was recorded live in Detroit at the Harpo's venue and released in 2001. This was the band’s first and to date only live DVD and captures the band live in support of their America’s Volume Dealer album from 2000. Jimmy Bower, who plays alongside Pepper Keenan in the fantastic Phil Anselmo fronted super group Down, provides the drums for this live concert as the band were in between losing and reuniting with long time Drummer and founding member Reed Mullin.

The band really hammer home a strong and confident performance, aided by Bower’s fine drumming. Each member puts in a good show, the guitars are big and heavy as they should be, the bass really stands out and Pepper’s vocals stand up very well in the live environment.

The setlist is strong, concentrating mostly on the band’s Pepper Keenan era material. Standout tracks include ‘Wiseblood,’ and ‘King Of The Rotten’ as well as the big hits like ‘Clean My Wounds,’ and ‘Albatross,’ which go down a storm live.

The sound mix is pretty great, really conveying the heaviness and southern edge to some of the riffs and letting you hear what each member is doing perfectly for most of the duration.

In terms of camera work and visuals the DVD is also pretty successful and it has certainly aged better than some of the concert DVDs that were released around that era, some of which are now feeling comparatively dated.

If any complaint were to be leveled at this Live DVD it would be that the editing is perhaps a little overenthusiastic, there is a lot more double-exposure than one would expect, things brake into slow motion at unexpected points and there is sometimes a seeming desire to get across how much fun the fans are having, even at the expense of the visuals.

If you can forgive this one flaw then there is a lot to enjoy about C.O.C’s Live Volume: The Movie and I would highly recommend it.

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