The opening song of any show can usually tell you a lot about the rest of the set list. When Chevelle opened with “Sleep Apnea” at Irving Plaza this past Feb 9th, a show primarily consisting of songs off the recently released “Sci-Fi Crimes” seemed inevitable. The pattern, fortunately, did not hold up.

Pete Loeffler, front man for the band, admitted that they had not played in New York for a very long time. The crowd was excited to hear any set at all, but the energy started out low and the opening moments were plagued by half-hearted sing-a-longs of lyrics yet to be memorized. The crowd’s energy picked up during “Vitamin R,” and by the time the band was ready to play tracks off of “Wonder What’s Next,” probably Chevelle’s most beloved album, the audience was already sold. “Family System” came five or six songs later than most expected, but it was well worth the wait.

Loeffler even decided to adjust the set list twice, acknowledging the crowd’s preference for older and heavier songs. Loeffler demonstrated a superb ability to control the crowd despite being significantly less energetic than the stereotypical hard-rock front man. Like a calm and collective captain, Loeffler led the crowd through spectacular renditions of “An Evening With El Diablo” and “Emotional Drought.” Loeffler did not need to jump around. The audience was energetic enough on their own, making the crowded floor disappear under a constantly shifting wave of fans.

The band remained as mystic and distant as they do on their recordings, keeping the same odd, roughly interpreted intimacy they feature in their albums. The band almost seemed surprised by the amount of energy they were receiving from the fans but used it to create a commanding and memorable performance.

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.