Chevelle, despite getting a bad rep for being associated with over simplistic nu-metal, always seem to put out excellent, thoughtful songwriting. “Sci-Fi Crimes” is no different. In fact, it marks another step in the bands movement towards maturity, something that older fans would be mistaken to confuse with being more radio-friendly.

Too often, bands talk about how their new release is going to be the heaviest to date, right before releasing an obvious attempt to appeal to the Headbanger’s Ball crowd. After criticism, the artist will usually strike back with a line like, “It’s heavy in a different way, keep your minds open.” Chevelle is the first band to ever successfully release an album with less metal qualities, while keeping the album heavy. There’s a noticeable absence of screaming, but the guitars sound harder (maybe not heavier) than ever.

“Sleep Apnea” is the perfect way to kick off the album, and is classic Chevelle with a new tone. “Mexican Sun” may be the best track and has an unbelievably powerful ending. “Jars,” the first single, fits neatly with Chevelle’s library, but displays its own spectacular songwriting. “Roswell’s Spell,” and “A New Momentum” are also highlights. “The Circus” rivals the second track, and even has a thrash-sounding riff in the middle.

The album is not flawless, though. If Chevelle could ever sound more like Tool, they do on this album. Some of the songs are a tad grungier, and maybe a little boring because of it. “Shameful Metaphors” sounds way too much like “Panic Prone.”

The band also returns to their tradition of featuring one acoustic song, something they lacked on Vena Sera. “Highland’s Apparition” does not grab the listener like “One Lonely Visitor” did, but instead sort of grows on them, more like “Bend the Brackett.” No previous Chevelle album has ever had a track like “Interlewd,” a refreshing instrumental with just bass and drums.

The more mature sound of “Sci-Fi Crimes” might alienate some of the older fans, but in the end the album is another work of art.