From the cover of Alternative Press to a supporting slot on Linkin Park's 2008 North American arena tour, Chiodos has knocked the music world on its collective ear with the arrival of Bone Palace Ballet (Equal Vision Records). With a stunning #5 Billboard debut last September, the sophomore disc by the cutting edge Michigan sextet affirms what loyal devotees of the group have known all along: Chiodos is inexorable. Touted by the aforementioned Alternative Press as both "an arresting piece of post-modern musical art" and "a frighteningly mighty album of exhilarating musicianship and inspired lyrical introspection that plays out like an evening at some glorious experimental-hardcore cabaret," Chiodos' dramatic charms are on full display with the lush, keenly orchestrated Bone Palace Ballet. Be it the goth-tinged wallop of first single and video "Lexington (Joey Pea-Pot with a Monkey Face)" or the roaring "Bulls Make Money, Bears Make Money, Pigs Get Slaughtered," the sextet--consisting of vocalist Craig Owens, bassist Matt Goddard, keyboardist/vocalist Brad Bell, drummer Derrick Frost and guitarists Jason Hale and Pat McManaman--makes brilliant post-hardcore music that sounds innovative and feels the pain of everyone. But that's not to say the follow up to 2005's fan-cherished 200,000-selling All's Well That Ends Well came effortlessly. "We were feeling pressure," keyboardist Brad Bell explains. "We went into the studio with tons of song ideas, but some of the songs we had weren't entirely completed. And that was a challenge and it was a little bit intimidating." "There was one point where we didn't keep one of the deadlines we had been given, and a lot of ‘What ifs' started to bubble up," Goddard concedes. "I think every band, no matter who they are, is afraid of that second record. It can make or break you. So we couldn't help but feel nervous." But staying true to their vision and counting on the guidance of producer Casey Bates (Gatsby's American Dream, Portugal The Man) paid off. Tracks like the crushing, oft-maniacal "Teeth The Size Of Piano Keys" and the melodic, single-worthy "A Letter From Janelle" not only took shape, but also brought the band into a new realm. "Casey helped us sift through the ideas and make the songs the absolute best they could be," Bell asserts. "We couldn't be happier with what we've done. I think it's a record we can definitely be proud of and build from." Anchored by virtuosic lead singer Craig Owens, the Chiodos frontman possesses a wide vocal range that's evidenced by his performance on the invigorating, cabaret-laced "Is It Progression if a Cannibal Uses a Fork?" Owens' onstage persona is as stellar as it is unsettling, bolstered by the wordsmith's deeply poetic lyrics (Bone Palace Ballet takes its name from a collection of Chuck Bukowski poems) and the singer's ability to careen from a pitch-perfect melody to a blood-gurgling rant (see "If I Cut My Hair, Hawaii Will Sink"). And perhaps it's that widely eclectic formula and agility in switching sonic gears that allows Chiodos to maintain an audience as diverse as the music they make. The group's incendiary live shows at varied venues and events--from the world famous Vans Warped and Taste of Chaos Tours to the Bamboozle Festival --have reaped them an ever-bulging fan base drawn to their distinct fusion of emo, classic rock, hardcore, and progressive metal. "I think our fans get something from our music that they can't find in other bands," Brad says of Chiodos' loyal following. "We're a little different from what people are used to." To which Matt adds, "We are very blessed. The dedication that our fans, or the Chiodos Army as we call them, have toward us is phenomenal. It's exciting to see them get so stoked about something that we've created." Whether it's Owens taking his nightly walk across the top of the crowd--as he did on the band's Fall '07 sold-out headlining trek--or guitarist Pat McManaman diving from the balconies of assorted venues, the fear that a member of the band might fall and break a limb has been alleviated by the complete and utter trust Chiodos has in its fans. After all, the rock & roll acrobatics are all part of the group's ultimate goal: to give Chiodos fans a performance that will stay with them. "We're giving our fans an experience, a memory," Brad explains. "So if Craig goes walking out on top of the crowd, or if one of us climbs up onto something, it's kind of thrilling. It gives people something to talk about and remember." Armed with a video for "Lexington," lensed by director Josh Graham (Saves The Day's "The End", Underoath's "It's A Dangerous Business…"), the men in Chiodos are celebrating each milestone brought forth by the David Bendeth (Paramore, Hawthorne Heights, Breaking Benjamin)-mixed Bone Palace Ballet. So what was going through their heads when they dropped in at #5 on the Top 200? "We never could have expected that kind of thing. We were all shocked and excited by the news," Brad says. "You know, we're living proof that bands can promote themselves and get themselves out there without the help of a major label," Goddard continues. "Word of mouth and the internet were both big things for us. We toured our asses off for several years and word got around about us. And we wound up having Equal Vision's highest charting record ever." With their eyes on the Linkin Park trek and the rest of the world in 2008, Chiodos' founding keyboardist considers the support slot "a great opportunity for us to have our music heard by 10,000 potential new fans each night." Adds Matt, "We're Chiodos. Here we are. Get Ready.' That's our attitude." As Chiodos steps into the spotlight, one might assume they're a little apprehensive. They're anything but. "We're psyched," Brad acknowledges. "We've always sort of had the dream of being a big band. I don't know if it will happen for us, but I'd be lying to say I haven't thought about it."