In a bold experiment, a tech journalist set out to find the heaviest music in existence, putting Sleep's legendary album Dopesmoker to the test. The result? A surprising challenger has emerged, threatening to dethrone the long-reigning champion of heavy music.

For years, Dopesmoker has been hailed as the heaviest album ever recorded, with its pounding megalithic riffs and dense, downtuned guitars. But journalist Elizabeth Lopatto was determined to find out if there was something even heavier out there. She embarked on a journey, listening to 26 extremely heavy albums, recommended by friends and strangers, to see if any could surpass Dopesmoker's intensity.

The quest led Lopatto to explore the world of heavy music, delving into the aesthetics of heaviness and the common musical lineage that ties many of these bands together. She discovered that the pursuit of heaviness is not just about being brutal or aggressive, but about creating a sonic experience that is both visceral and immersive.

Among the contenders that emerged from Lopatto's listening marathon were Boris's Amplifier Worship, Hell's Live at Roadburn, Bongripper's Empty, and The Body / Thou's collaboration Released from Love / You, Whom I Have Always Hated. But it was Hell's Live at Roadburn that ultimately took the crown, with its lower-tuned guitars, varied tempo, and pummeling drums that made it decisively heavier than Dopesmoker.

So, what makes Hell's Live at Roadburn so heavy? According to Lopatto, it's the combination of factors, including the lower tuning, the variation in tempo, and the fuzzed-out feedback. But the deciding factor is the drums, which are much higher in the mix on Roadburn than on Dopesmoker, making it possible to feel the bass and tom. This, combined with the guitar solo on "Machitikos," creates a sonic experience that is truly crushing.

The discovery has implications for the music industry, highlighting the importance of sonic experimentation and the pursuit of new sounds. It also underscores the power of music to evoke emotions and create immersive experiences. As Lopatto notes, "Spending two hours listening to music as an activity — while doing nothing else — is something people should do more often. Music is still powerful, if you're willing to pay attention."

In the end, Lopatto's quest has led to a new champion of heavy music, one that challenges our understanding of what it means to be heavy. Whether you're a fan of heavy music or simply curious about the limits of sonic experimentation, this discovery is sure to resonate.