When bands get caught up in a whirlwind of Internet-induced hype, it can more often than not take something away from their art. This sometimes acts as a natural population check for guitar bands, filtering out those who lacked the staying power anyway. For Deafheaven, however, it’s an injustice. When the Bay Area five-piece released its 2013 masterpiece “Sunbather,” it caused a stir—and rightly so. That record is nothing short of a classic, and its influence (good or bad) is still evident well over two years later. Yet many critics focused instead on how the band looks, or directed their disapproval towards the huge crossover appeal that the album managed to secure.

The negativity aimed the band’s way didn’t seem to make a difference, though. Earlier this month, Deafheaven released its third effort, “New Bermuda,” which vindicated all those who championed the band from the start. The album is a phenomenal follow up. There is virtually no other band alive that manages to find such great beauty in the darkness that Deafheaven surrounds itself with and “New Bermuda” is evidence of this feat. Vocalist George Clarke’s lyrics deal with the pressures that change brings, and, while not being an essential part of the listening experience, they add an extra dimension that few other metal bands can truly offer. As good as the lyrics are—and they really are great—much of the beauty comes from the actual music. The standard Deafheaven song formula of a heavy intro followed by a beautiful strain is amplified here; the heavy parts are even heavier, and the beautiful parts even more beautiful, giving stunning results.

One thing not even Deafheaven’s detractors can take away from the band is how genuinely touching its music is, and this is thoroughly translated in the live setting. Seeing the band play The Ready Room this Monday made it even clearer just how affecting these songs are to the audience. The band powered through the whole of “New Bermuda” plus a few extras, but it is testament to just how accomplished Deafheaven are that the whole performance was of an unwavering caliber.

As tight as the band sounded the whole night, much of the draw came from George Clarke’s presence on the stage. The way Clarke commands the stage is extremely captivating, especially seeing as the band does not rely on the usual black metal “props” (corpse paint and decorative skulls). There is a certain intensity he brings that makes you feel like he is speaking—or screaming—directly to you and your heart wherever you are in the crowd. He often made physical contact with fans and urged everyone closer and closer to him all to make it even more personal. But it wasn’t necessary—after an hour and a half of being transfixed by him, you already sensed you were staring directly into his soul. This took his band’s excellent display to a transcendent new level.

This may all seem like hyperbole, but there are few greater artists deserving of such words. During the breakdown of “New Bermuda” track “Luna,” when the drums and vocals fade out just to leave a solitary guitar playing, it is almost awe-inspiring, even more so live than on the recorded version. It is the kind of moment you realize just quite how special Deafheaven and the music it makes truly is to the listeners. Then the drums and vocals come back in without any notice, almost like the whole sky is crashing down on you. There isn’t any time for space and reflection, but you’re safe in the fact that this band will be a part of your existence for a long time.