Stoner Metal

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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

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ELECTRIC WIZARD Dopethrone Album Cover Dopethrone
ELECTRIC WIZARD
4.27 | 41 ratings
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SLEEP Dopesmoker Album Cover Dopesmoker
SLEEP
4.29 | 32 ratings
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CATHEDRAL The Garden of Unearthly Delights Album Cover The Garden of Unearthly Delights
CATHEDRAL
4.27 | 29 ratings
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TROUBLE Manic Frustration Album Cover Manic Frustration
TROUBLE
4.31 | 14 ratings
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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...
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4.23 | 14 ratings
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THE SWORD Gods of the Earth Album Cover Gods of the Earth
THE SWORD
4.19 | 16 ratings
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DOWN Down III: Over the Under Album Cover Down III: Over the Under
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4.21 | 13 ratings
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KYUSS Welcome To Sky Valley Album Cover Welcome To Sky Valley
KYUSS
4.09 | 57 ratings
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ELECTRIC WIZARD Wizard Bloody Wizard Album Cover Wizard Bloody Wizard
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THE SWORD Age of Winters Album Cover Age of Winters
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4.15 | 13 ratings
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OM Advaitic Songs Album Cover Advaitic Songs
OM
4.18 | 10 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

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stoner metal Music Reviews

SEVENTH VOID Heaven Is Gone

Album · 2009 · Stoner Metal
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UMUR
"Heaven Is Gone" is the debut full-length studio album by US, New York based stoner/doom metal act Seventh Void. The album was released through Big Vin Records (Vinnie Paul´s label, who is also credited as producer on the album) in April 2009. Seventh Void formed in 2003 and to many, part of the band´s appeal is probably the fact that two of the four members of the contemporary Type O Negative lineup are included in the lineup who recorded "Heaven Is Gone". Johnny Kelly on drums and Kenny Hickey on lead vocals and guitar. Bassist Hank Bell and lead guitarist Matt Brown complete the quartet lineup.

The material featured on "Heaven Is Gone" was recorded during a pause in Type O Negative band activity after finishing their tour supporting "Dead Again" (2007), and Seventh Void was probably just meant to be a project to keep Kelly and Hickey busy while they waited for Peter Steele to write material for the next Type O Negative album. Of course that never came to be as Steele unexpectedly died in April 2010 and in November the same year the official announcement came that the remaining members of Type O Negative would not continue without Steele.

So a lot of talk about Type O Negative above, but name dropping that band is not only valid because of the shared members, but also because of musical similarities. Seventh Void are generally more straight forward delivering heavy stoner doomy riffs and rhythms and no gothic rock/metal influences or lyrics about depressive vampires or dark romance, but when Hickey sings it´s impossible not to think of his then main band, as he has always complimented Steele, with his high pitched voice and semi-aggressive delivery. Here he is the sole vocalist, and while he does a good job within the boundaries of his abilities, a whole album featuring his voice is a bit much. Other than that the material is decent enough, although seldom reaching excellence. In many ways Seventh Void remind me of another Type O Negative offspring in A Pale Horse Named Death (minus the gothic metal influences). So the heavy riffs and rhythms are at times complimented by alternative rock/metal elements.

The sound production is well sounding and obviously the work of a professional, but I would actually have prefered a more raw and organic sounding production, which I think would have suited the material better. Upon conclusion "Heaven Is Gone" isn´t exactly a revelation, and I probably wouldn´t have given it a shot if it wasn´t for the names involved, but with that said it´s still a decent quality release, and a 3 star (60%) rating is warranted.

HIGH ON FIRE Cometh the Storm

Album · 2024 · Stoner Metal
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UMUR
"Cometh the Storm" is the ninth full-length studio album by US, heavy/sludge/stoner metal act High on Fire. The album was released through MNRK Heavy in April 2024. It´s the successor to "Electric Messiah" from October 2018 and there´s been one lineup change since the last album as drummer Des Kensel has been replaced by Coady Willis. The latter is known for his work with artists like Big Business and The Melvins. Kurt Ballou is credited as producer. A role he has also played on the last couple of albums by High on Fire. Actually every High on Fire album from "De Vermis Mysteriis" (2012) until this one have been produced by Ballou.

Personally I haven´t always felt that Ballou´s production style fit High on Fire´s music, but on "Cometh the Storm" he has aimed for a more organic, heavy, and meaty tone, which suits the band´s ultra heavy stoner/sludge metal riffs, heavy organic grooves, and occasional bursts of heavy/thrash metal aggression really well. To my ears the sound production on "Cometh the Storm" is the most well sounding production on a High on Fire album since "Snakes for the Divine" from 2010. This album has the right bite and venom dripping from it.

High on Fire are as well playing as ever and the addition of Willis to the ranks is not a bad decision. If you´re familar with his work with both Big Business and The Melvins you won´t be surprised by his high quality output and creative drumming ideas. He adds a lot to the sound of this album. Frontman/guitarist Matt Pike sounds as raw as ever (and has over the years also built upon his arsenal of vocal styles) and bassist Jeff Matz, who completes the trio lineup, is a solid heavy anchor. High on Fire´s relatively unique combination of stoner metal, sludge metal, heavy metal, and thrash metal riffs and rhythms hasn´t changed drastically over the years, and the material on "Cometh the Storm" follows in a similar style to the many preceding releases.

So it´s the songwriting and the production values which set one High on Fire album apart from the other albums by the band, and to my ears "Cometh the Storm" is in the better end of the High on Fire album releases, both when it comes to the memorability of the compositions and certainly when it comes to the sound production (as mentioned above). A 4 star (80%) rating is deserved.

ELECTRIC WIZARD Wizard Bloody Wizard

Album · 2017 · Stoner Metal
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UMUR
"Wizard Bloody Wizard" is the ninth full-length studio album by UK doom/stoner metal act Electric Wizard. The album was released through Spinefarm Records in November 2017. It´s the successor to "Time to Die" from 2014 and features one lineup change since the predecessor as drummer Mark Greening has been replaced by Simon Poole.

Stylistically the material on "Wizard Bloody Wizard" is horror/occult themed stoner/doom metal with the occasional psychedelic touch. It´s brick heavy music, featuring heavy groove laden power chord riffs, organic bass playing and drumming, and lead vocalist/guitarist Jus Oborn shouting vocals in front. If you´re familiar with the last couple of albums by Electric Wizard, you won´t be surprised by the style of music presented here. There´s maybe a slight hard rock edge to some of the tracks and an even more organic/analog sounding production than on the preceding albums, but it´s details, and Electric Wizard still worship at the alter of 70s Black Sabbath, like they´ve done on a lot of their output. The title of the album is of course also a pun on the legendary Birmingham band´s fifth studio album "Sabbath Bloody Sabbath" (1973).

The songwriting is decent, but it´s not the most interesting nor the most challenging release by Electric Wizard. They´ve always repeated their riffs a lot during tracks to create a hypnotic effect, and it has often worked well for them, but there is always the risk that repetition creates a feeling of indifference or even boredom in the listener, and that´s unfortunately occasionally the case here. It´s not a major issue, but a more concise songwriting approach and a little more focus on catchiness wouldn´t have hurt. Of course the dark occult atmosphere, the high level musicianship, and the great parts of the songs save the day, and "Wizard Bloody Wizard" is overall another high quality stoner/doom metal release by Electric Wizard. A 3.5 star (70%) rating is deserved.

CATHEDRAL Cosmic Requiem

EP · 1994 · Stoner Metal
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UMUR
"Cosmic Requiem" is an EP release by UK doom metal act Cathedral. The EP was released through Columbia Records in August 1994. It bridges the gap between the band´s second and third full-length studio albums "The Ethereal Mirror (1993)" and "The Carnival Bizarre (1995)". "Cosmic Requiem" is actually a re-release of the "Statik Majik" EP from April 1994 featuring a slightly different tracklist. It features the 3 tracks from the vinyl version of "Statik Majik", but replaces the "Statik Majik" CD bonus track "Midnight Mountain" with "A Funeral Request - Rebirth". "A Funeral Request - Rebirth" was originally feautured as a bonus track on the Japanese version of "The Ethereal Mirror (1993)" (and on some reissues of the album). The first studio version of the track, which was originally titled "A Funeral Request (Ethereal Architect)" is however found on the band´s debut full-length studio album "Forest of Equilibrium (1991)". Needless to say that if you already own "Statik Majik" you´d best consider twice if "A Funeral Request - Rebirth" is enough value for you to purchase "Cosmic Requiem" too. Given the choice I´d recommend a purchase of "Cosmic Requiem" over "Statik Majik" though, as "Midnight Mountain" already appears on "The Ethereal Mirror (1993)".

While "Cosmic Requiem" is an EP release and only features 4 tracks, it´s actually an album length release with a total playing time of 43:00 minutes. The long playing time is in large part due to the 22:42 minutes long "The Voyage of the Homeless Sapien", which was by far the longest and most progressive structured track in the band´s discography at that point. It wasn´t until 2005 that the band released an even longer track in "The Garden" (26:58 minutes long) from "The Garden of Unearthly Delights".

Stylistically the material on "Statik Majik" is doom metal with strong psychadelic stoner doom leanings. Anyone familiar with the sound of the material on "The Ethereal Mirror (1993)" won´t be surprised by the overall musical direction on "Cosmic Requiem", although Cathedral definitely pushes the boundaries of thier sound to the maximum on this release. While "Statik Majik" and "Cosmic Requiem" share 3 tracks, the tracklist order is not the same on the two releases. "Cosmic Funeral" which was placed as track number 3 (the CD version of that release) is placed as track number 1 on the latter. "Cosmic Funeral" opens as a slow and doomy track and then changes into a darkly psychedelic stoner doom track featuring eerie synths and heavy riffs, and Lee Dorrian performing weird vocals and lyrics. "Hypnos 164" follows and is one part twisted and dark doom metal and one part psychedelic and oddball stoner doom, with Dorrian performing even more weird and freakish vocals and lyrics.

Track number 3 is "A Funeral Request - Rebirth". The original version from "Forest of Equilibrium (1991)" is a slow, dark, and relatively groove laden doom metal track, while this version is a little more upbeat and the grooves are more in focus. Dorrian sings in a higher register than on the original and it´s a reinterpretation of the track, which overall is quite different from the original. I much prefer the original version, but this version is worth a listen too.

Although all mentioned tracks are high quality material, it´s the 22:42 minutes long "The Voyage of the Homeless Sapien" which is the real attraction here. A strongly psychedelic flavored and progressive structured stoner/doom metal track, featuring many different sections, atmospheres, and textures. If you hadn´t noticed before (and you should have), it shows in abundance how adventurous Cathedral are.

"Cosmic Requiem" features a dark and heavy sounding production job, and the organic and raw sound suits the material well. You can hear all details in the mix, but it´s still heavy and dark sounding enough to satisfy a doom metal fan. Upon conclusion it´s one the most different and unique sounding releases in the band´s discography (in close competition with the "Hopkins (The Witchfinder General)" EP from 1996), and it´s through and through a high quality release fully deserving a 4 star (80%) rating.

BANTHA RIDER Binary Sunset Massacre

Album · 2020 · Stoner Metal
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Warthur
The first full-length album from Bantha Rider finds the trio refining their sound from the Kyuss-influenced approach of their self-titled EP. Dedicated to a fully instrumental sound, the band bring additional polish to bear on the production side this time, yielding a sound which combines the precision and instrumental virtuosity of The Fucking Champs with a thunderous stoner rock groove that sounds like a bantha stampede surging across the wasteland. It's not what you might expect from a Star Wars-themed band - there's no quotes, no references, and none of the light-hearted power metal that the idea of a Star Wars-themed metal band might make you think of, just serious business stoner metal with an endearingly geeky concept for the artwork and song titles.

stoner metal movie reviews

CORROSION OF CONFORMITY Live Volume: The Movie

Movie · 2001 · Stoner Metal
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Kingcrimsonprog
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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