CD Review: Chiodos pushes limits with All’s Well That Ends Well

One of the most interesting and inventive new albums comes from a band with a name that most people can’t even pronounce. Chiodos (pronounced “key-oh-dose”) bring their genre-bending tendencies into full view with All’s Well That Ends Well.

Released with little fanfare several months ago, the Michigan natives’ Equal Vision Records debut has started to gain a head of steam following constant touring and promotion.

It’s easy to understand why their fan base would continue to grow. Chiodos is not detained by conventional rock labels, and, therefore, appeals to a range of listeners.

What makes All’s Well That Ends Well so noteworthy is the band’s knack for seamlessly sewing together combinations of arena rock and metal with electronica, pop punk and classical piano.

While listening to the 42-minute album, the sounds of other notable acts, including Taking Back Sunday, At The Drive-In, Underoath, Saves the Day and My Chemical Romance all come to the fore at different stages.

Ultimately, what separates Chiodos from those bands—other than few others are able to combine such wide influences in a believable manner—is the undeniably unique vocal prowess of lead singer Craig Owens. Though he doesn’t possess a wide vocal range, his high tones and screams add authenticity to standout tracks such as “All Nereids Beware” and “There’s No Penguins in Alaska.”

With a name inspired by ’80s horror cinema, it would be easy to write off Chiodos as dark and inaccessible. In reality, the most frightening thing might be missing out on an album that pushes the limits of current metal/hardcore/punk creativity.

Chiodos—with local faves Mt. St. Helens, From Here On After and Rosaline—will perform at DeKalb’s The House Café, Monday, April 10, starting at 8 p.m. Tickets are $10 for this all-ages show. For more info, visit, or call The House Café at (815) 787-9547.

From the April 5-11, 2006, issue

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