Sludge metal — characterized by fusion of slow tempo, bass-heavy doom metal with hard-core punk's shouted vocals and aggressive aesthetic — has lost touch with its roots. However, contemporary artists have drifted from the sound originated by groups like EyehateGod and Buzzov*en. Fortunately, there are still those (like Annandale, Va.'s Salome) whose music is faithful to the true Southern sludge.

Salome's 2007 debut release, a split with the band Three Faces of Eve, was self-produced and limited to 666 copies, which wasn't enough to spread their music to the world. The following year however, their self-titled album came out, and in November, Terminal, the band's second full-length album, was released on Profound Lore Records.

Terminal includes seven songs that play for over an hour, and leave an impression like a wrecking ball leaves on a tree house. The slow crescendo in opener "The Message" provides a good introduction to the piece, which is soon followed by "Terminal," a track worthy of being the title. Rob Moore's guitar is tuned so low one would swear it was a bass guitar, but the band operates without a bass player. Aaron Deal's drumming matches the mood of the song at every turn and offers style that requires years of practice. The vocals are spot on, full of dread and violence, scratchy growls and howls that drag on and on.

Salome is an enormous asset for heavy metal, and their singer is Katherine Katz (also a member of Agoraphobic Nosebleed), who is more metal than an I-beam.

Vaughn Fortier-Shultz is a junior at Santa Fe High School. You can reach him at moosemanxl@gmail.com.