I'd just like to start off this review with two words that sum up this album: "Holy shit." This is one of the best hardcore albums I have ever heard, and I've heard a lot of hardcore albums. Jay Forrest's in your face, screaming attitude is the focal point of the album, but what goes on around him is even more amazing. The music itself is complex. Complex music in a hardcore band, who'd have ever thought that would happen? But it happened here and it works. Hopesfall manages to create well composed music that is still aggressive, complete with grindcore vocals that absolutely scream Cannibal Corpse. If there is one hardcore album you ever buy, it should be this one.

Okay, here we have a case of a cool band on a cool label doing the cool kind of music. So does that make the record cool? In this case... yeah. Like Thursday, Hopesfall know how to reel in the big hook when they need to in a way that maintains maximum dignity. Most of their ilk are pretty mediocre, but Hopesfall have a future because they know how to write songs that would stand up regardless of the state of the genre. "Dead in Magazines" is going to be a big song if there is any justice in the world because it has so many of the right elements that make well played emotional rock powerful. At times a bit harsh yet always on point, this is a recommended pick. Grade: A+

It’s been a long time since I was truly impressed with a Trustkill band. Don’t ask me why, but I’ve always kind of thought them all the same for the most part and while most of the roster is top notch, it just has never really grabbed me like it has the trillion other hardcore kids around today. This CD may change all that. Hopesfall are riding the fine line between hardcore and indie rock. A lot of bands are doing this these days, it seems to be the new thing amongst MTV2 watchers and will possibly be the next “big thing” in the mainstream (with the success of the Used, Blindside and other acts that rock similar styles). These cats though have their very own style that is unique to them and them alone. The give us a complete sounding record from beginning to end here, and that’s a concept not too many hardcore bands get. Complete, smooth flow… complete package both aurally and visually. Their brand of rock tends to move along the lines of the producer of the record’s (Matt Talbott) band, Hum. The production quality is the same as the last Hum record, “Downward is Heavenward” which is fucking outstanding for a band of this size. The guitars are perfectly heavy, not too distorted, not too light… and occasionally the band rocks some acoustic business as well. This record sounds BIG. My only complaint about the recording is sometimes it sounds a bit too much like Hum for it’s own good. The main thing of interest here though is how the record is a perfect balance of heavy and soft, and it’s not cheesy, nor cliché either. Their music move along in an atmospheric way, pulling the listener in with grace and poise not often accomplished by a relatively young band like this. It’s really out of my scope to pick each track apart like some reviewers are able to do, and you’re lucky to get this many words out of me in a review, but this CD deserves it. Hands down the best CD since summer left us. Remarkable…. Let’s just hope they can keep this up.

Combining emo rock music with metal-core vocals makes Hopesfall interesting if nothing else. They range from thick heavy guitars to slow acoustical breakdowns taking you from song to song with a deluge of emotional lyrics. Thought out words are taken to heart though a combination of Jimmy Eat World/Get Up Kids and Bloodlet/Strife style vocals that intertwine at just the right moments. This gives the listener a break between either the hard or the soft keeping it ever revolving and progressive. Trustkill has built a reputation from finding and releasing some of the most original bands in the hardcore world and Hopesfall hasn't let that tradition die.

Takehold really is / was a good place for promising new acts to grow up – think of Narcissus, now on Century Media, or other brilliant acts like FewLeftStanding. Hopesfall are one more band that released with Takehold before getting on a bigger label without losing any time. Good for them, as their music deserves a big company like Trustkill. Many people call Hopesfall “the better Poison the Well” – as I would say both bands are equal, you already see how much attention this band gets. Introducing themselves with a beautiful intro, before showing you how new school hardcore should sound nowadays, Hopesfall are sure to leave an permanent impression among everyone who listens to them, and to show you how they follow the style of their much anticipated EP with the right dose progression. Well arranged songs between anger and a lot of hope are throwing you from one mood to another on this concept album: While beeing confronted with a straight forward beat and gutteral screams, you can be surprised by the sung voice of their frontman a moment later, introducing some nice harmonies and melodic guitar backgrounds to the songs. Beeing able to arrange broad instrumentals in a way like this is truly something not many bands are able to accomplish. Ranging from destructive metalcore beats to unescapable melodic hooks and even poppy songs (#9), this is more than many people expect from our beloved genre. Furthermore, the beats of their drummer, with the uncountable cymbal attacks and the rocking background he provides are fitting perfectely into the melodic surrounding the second guitar delivers. Speaking of the voice again, it should be seen as another highlight of of this record – always staying in the right mood where the music leaves you, ranging from whispers to remarkable good sung passaged, before screaming intensely enough to give you a shiver. Hopesfall even take the time to calm down completely at some moments, creating instrumental landscapes that never get boring with their uncountable layers of musicianship. It may take some time to understand this record completely, as there is so much musical content within the 40 minutes duration – you need to take this as a symphony and judge it as a whole. Poison the Well is a good comparism, as this will hit the same crowds – whithout using comparisms, this is modern, emotional hardcore at its best and in my eyes an important step for the whole genre. Understanding the graphical and partly lyrical / sidenote concept of science fiction between escape-pods from earth on the one side and renewal of what is present on the other, you can easily transform this on their musical claims of bringing their and therefore our music to another level, of bringing the necessary progression. 100% Impressive!

Anticipation for a band’s new album can go one of two ways. You can build yourself up in the weeks and months leading to its release date, swallowing every ounce of hype and believe everything their label assures you about it being this year’s big thing, only to play the CD and try to lie to yourself that it’s really not that bad, when you sadly discover that your old favourite band have gone the painful way of the Tamagotchi. That’s not the good way. Alternatively you can for a long time feel deep in your bones that a massive tornado of an album is headed your way. A combination of your past experience, your understanding of where in space and time the band stood upon their record’s creation, their motives and their audience guide you in this instinct. A gut feeling you know is deeper and more exciting than you could experience reaching the crest of the biggest roller-coaster you could dream of, brings you to a singularity, that moment when you sit underneath the letter-box clutching your new CD, packaging discarded, paper littering the ground around you like remnants of an angry fat guy’s attack on a Subway outlet. Which brings us neatly to “The Satellite Years”. Put as simply as I can bring myself to do so without feeling like I’m personally letting the band down, this is an album of unparalleled melodic beauty within its genre; ten ingeniously structured and layered movements of a monumental 40-minute hardcore symphony. Fuck the anticipation of weeks, this is what every devotee of sublimely technical but supremely human music has waited infinite lifetimes for. Is my judgement clouded because of how long I’ve waited for this? Not this time. I was not without my doubts, my fears. A very recent change in vocalist and numerous line-up changes amongst the rest of the band has had the potential to knock Hopesfall’s delicate-as-a-wine-glass genius off course; a band paradoxical in their existence – the almost impossible to describe concept of soft hardcore. And “The Satellite Years” is all about concept. The artwork, as all good artwork should, gives you your first clue about what to expect from the record. The images of futuristic escape pods flying anonymous humanoid figures far into a misty blue yonder equate wonderfully with the album’s soaring, majestic tone. The term spacey, though superficial sounding, can be applied throughout, and even the feathery picking of guitar harmonies through many parts of the songs can be likened to the twinkling of a thousand stars. Instrumental opener ‘Andromeda’ sets the tone for the album, with vocalist Jay Forrest’s guttural screams bleeding through by the time we reach ‘Waitress’. During the album we are guided through a demonstration of Hopesfall’s dramatic range; touching on emo ideals (especially on ‘Decoys Like Curves’ and the Thursday-like ‘Escape Pods For Intangibles’), the odd punk riff (‘Only The Clouds’) and Radiohead-esque layers of non-descript noise (second instrumental ‘Redshift’ and epic closer ‘The Bending’). There is rarely a harder act for a band to follow than Hopesfall’s exquisite 2001 EP “No Wings To Speak Of”; four tracks of sprawling melodic hardcore, which included the mammoth ‘The End Of An Era’, arguably one of the greatest modern hardcore tracks committed to CD, and felt more like a cohesive and full album than most bands’ 12-or-so-track efforts. However, Hopesfall followed it in fine style, and did in the best way possible – by not attempting to recreate what they did before. “The Satellite Years”, by way of the new-boy vocalist, sees much more singing used rather than screams, and with the vocals set lower in the mix, the emphasis seems more on the power and beauty of the music. Teetering on the edge of hugeness as Hopesfall now seem to be, especially in their native USA, it would be an understatement to say that real beauty on this scale in such an ugly musical climate is precisely what people need to be experiencing.

Hopesfall’s last record, No Wings to Speak of, was a melodic hardcore masterpiece that received little to no attention by the media – underground or otherwise. Released on the highly underrated, now defunct Takehold label, the four songs on No Wings to Speak of were miles ahead of what most of the other bands in the emo/hardcore genre were doing at the time. This record, the debut Trustkill release from this Charlotte, North Carolina five-piece band, smoothly fuses influences from virtually every genre of music found in today’s hardcore/metal scene in a way that is not only incredibly talented, but also highly original. When asked about Hopesfall’s newfound relationship with Trustkill, drummer Adam Morgan comments: “The label’s been good to us. They’re promoting us a lot. and we’re definitely happy to be with them right now.” Currently on tour with Shai Hulud, Remembering Never, and Atreyu, the band has tour dates spanning the next three months, taking them into the early part of the New Year. “They [Trustkill] want us on the road a lot - so that’s what we’re doing,” Morgan mentions, “and in the New Year, we’ll be coming up to Canada again with Eighteen Vision and Killswitch Engage.” The band’s live show is something that isn’t to be missed, and the new material on this record is some of the most interesting to be released in quite some time. From harsh, intense, high-pitched screaming, to beautiful, clean singing, vocalist Jay Forrest has covered all grounds on this release – perfectly complimenting the diverse range of melodies produced by his band mates. The meticulously arranged, intelligently written compositions make every one of the eleven songs on this release a musical masterwork. “The music we’ve been listening to over the last year has been more rock,” says Morgan, “we’ve been listening to a lot of Failure, Codeseven, Shiner, and to all of the Desoto bands, so that has had a serious effect on what we’ve been writing.” Produced by Matt Talbot of Hum, another one of the band’s central musical influences according to Morgan, this record sounds as good as it looks – and it looks absolutely amazing. This is easily one of the best records released this year, and not since Cave In released Jupiter has a band managed to raise the competition’s bar so high.

The ever expanding genre of progressive hardcore and metalcore contains some of the most innovative music being created in the 21st century. However, a new band has taken this genre into new territory without leaving behind any of their roots. .hopesfall. takes the core aggression of hardcore and combines it with a multitude of styles, ranging from indie rock to melodic rock and metal. ‘The Satellite Years’ is first and foremost HEAVY, but .hopesfall. doesn’t settle for an all out maelstrom of Earth Crisis aggression. Haunting passages like “Escape Pod for Intangibles” take the listener into the murky waters of a band like Anathema. ‘Jupiter’ era Cave In can be heard momentarily on songs like “Dana Walker”, only to be pulverized by monstrous guitars and vocal screams. It’s the combination of melodic yet crushing guitars and vocals, progressive yet beautifully fluid songs, and an amazing sense of identity that explodes in the listeners face causing this band to stick out from all the other bands treading the post-hardcore waters. Simply put, .hopesfall. is the best band I’ve never heard of . . . until now. With an amalgamation of sounds and styles and a true sense of direction, the entire album becomes a truly beautiful experience. Nothing is out of place. The entire band seems to know exactly what kind of sound they want. I urge everyone to give .hopesfall. a chance, whether you like hardcore and metalcore or not. ‘The Satellite Years’ should be left in a category all its own. With their talent as musicians and songwriters, an amazing future waits for these guys. 9/10

It's common that bands of the harder, heavier genres try to add some dynamics to their albums by throwing in acoustic tracks or some kind of quiet to prevent losing the listener's interest. Generally, this means that you'll get harsh and brutal that comes to a full stop, followed by pretty and melancholic that also comes to a full stop. Many times, these individual tracks are good, but there isn't much cohesion between them. Hopesfall's unique brand of mixing technical hardcore with mellow, melodic breakdowns and vocals is seamless. It's a refreshing thing to hear a group make not only something that is outstanding in creating music whose individual parts are exemplary for their particular genre, but also mesh so well together, in turn creating a signature style all its own. In Hopesfall's case, this style is like a mix of technical hardcore and melodic alt rock. To put it most simply, imagine Aereogramme if it were a hardcore band, and you've got Hopesfall in a nutshell. The Satellite Years is guaranteed to be one of the top five albums of this reviewer's best of 2002 list. Even after seven complete, uninterrupted listens, there are still things to be discovered. The music soars and goes in beautiful directions of color - kind of like driving along the exhilarating California coastline on a sunny day, windows down and the smell of the sea everywhere. Everything about this album, down to the brilliantly designed booklet with its gorgeous blue hues and themes of escape and renewal that all ideally reflect the music, is perfect.

Hailing from Charlotte, North Carolina, this quintet continue the Trustkill tradition of signing bands who are more than capable of taking hardcore to the next level. With each new release from bands like Eighteen Visions and Hopesfall, the days of hardcore being nothing more than thug music are fading into a distant memory. ‘The Satellite Years’ isn’t about chest-beating aggression, it’s about carefully-crafted, emotional, passionate sounds. Sure, ‘The Satellite Years’ is still an aggressive, heavy album but the likes of ‘Dana Walker’ see the band dilute that aggression with a haunting melody. Lurching from grinding, chugging guitar workouts to slow, heartfelt melodic breaks, Hopesfall prove that hardcore these days is a much more intelligent form of music, with vocalist Jay Forrest adding more moods and angles to the sound with his range of vocal styles. Listen to his throaty screams or his soothing melodies and you won’t believe they come from a man who has spent the last few years delivering pizzas just to fulfil his dream of making a living from his band. Still, on the evidence of ‘The Satellite Years’, it won’t be very long before Forrest will be parking up his moped for the last time.

Who the hell are these guys and what planet have they dropped from? Hopesfall is undeniably the best hardcore band I've never heard (although friends tell me that I would love Against Me). With a scream reminiscent of Drowning Man dichotomized with singing parts, absolutely insane breakdowns contrasted against a few clean breaks, and a drummer that builds intensity and destroys it like an orgasm, Hopesfall easily surpasses Thursday as the best screamo band out there. Like Thursday, I don't have a damn clue what Hopesfall is singing about but their sound is urgent, depressed, celebratory, terrifying, and beautiful. Like early Garrison, Hopesfall has switch between vocal styles easier than a bisexual switches sexual partners. Hopesfall's sound does spin kicks on the thin line between emotions that many bands struggle to tip toe on. Their sound goes beyond what Boy Sets Fire did for hardcore with "The Day the Sun Went Out" and has all the insanity of Catharsis' "Passion." This could be the best thing that Trustkill has released since Harvest's "Living With a God Complex." Fans of just about anything other than Garth Brooks could find something that they like about "The Satellite Years." The only thing holding Hopesfall back is the possibility of falling between genres and not having a crowd to play to but given how open minded and accepting hardcore and punk kids tend to be that shouldn't be a problem.

It's easy to say this album has had quite a bit of hype and rumor around it. First off, Hopesfall joined a label not particularly known for their support of Christianity, kicked out a number of members, and wrote a record that blows their old songs away. I always took their EP with a grain of salt, enjoying it, but never getting what the hype was about. This new album proves they are a hype-worthy band, seamlessly blending indie rock, post-hardcore, metalcore, and a ton of other styles that would take an hour to list. Basically, they've tread into new territory and the uniqueness shows. Both old fans and those new to this album will surely find it to be quite amazing.

This is a great CD, regardless of what anyone says. It stands worlds apart from all the other melodic emotional hardcore bands.... their atmosperic intricate riffs create a spell for the listener to get lost in. The clean vocals are amazing - I've always loved the guy's voice. The screamed vocals are equally good. The highlight of the CD is the guest vocals of matt Talbot of Hum fame for an entre song - good, good stuff. I was a huge fan of Hum and was extremely pleased to hear that he produced this CD as well. Hum's influence on Hopesfall is quite apparent with their dreamy riffs and disjointed melodies. Hopesfall is simply a great band, and this is simply a great CD. It's varied enough to make listening to the entire thing possible, and so far I haven't gotten the least bit tired of it. If you're a fan of Hum, Poison the Well, the Deftones, or Cave In, check this release out.

Building on their metalcore roots, i guess i'd call this album emocore. It's very complex, with lots of progession and melodic breakdowns, tracks like 'dead in magazines' and 'dana walker' will just blow you away. To put it simply, this is about as perfect and all rounded a hardcore record you could ask for; from gentle instrumentals to downright aggression, with absolute fucking invention as a constant theme. This band has reached a whole new level with this stunning album.

Hopesfall has crafted a very moving and melodic album with "The Satellite Years". Although pretty different from "No Wings To Speak Of", this is definitely not a disappointment. Many old Hopesfall fans might look down on this album because it has gotten more "mainstream". While I admit that this album goes into the more melodic [and sometimes very "Poison Te Well-ish"] genre, it has many incredibly moving and powerful parts to it. Examples include both of the instrumentals [Andromeda and Red Shift], The Bending, and A Man Exits. I think that my favorite part in the album is the "clapping" part in Waitress, it's unbelievably catchy, emotional, and I love it. The high points of the album are definitely the first two songs and the last song. The Bending is by far the best song on the album. It's fast and powerful. Overall, this is an album that you should definitely go out and buy. While demonstrating a shift in style, it is a shift that I think could be for the better.

Hopesfall began in North Carolina in 1998. The purpose of the band initially was to write a few tunes, and play a few shows. After some time the band members began to realize there was something more to the music they were creating and decided to delve further into it. After laying waste to several venues along the way, Hopesfall came to be apart of the Trustkill family. After snuggling in nicely between Poison The Well and Eighteen Visions, Hopesfall's music today is like a murderer that violently slits your throat, then realizes the horror, and tries to stop the bleeding with a Scooby Doo Band-Aid. There is something innocent yet terrifying about this band! The first track on "The Satellite Years" is "Andromeda". I call it "Ambience music" if you will. No vocal, just lulling music that will sedate you and leave you in a trace until the fury of "Waitress" awakens you to horror. The guitar work from Brigham and Waldrup is smashing, and Morgan's spine is destructive as Forrest screams more then just "Jennnnnaaaaayyyyyy". He snarls a high pitched scream that drives the point home. Then without warning, melody bust's through the door and like that it is a whole new ballgame! It is almost a jamming melody to close the track out. Emotional and physical! Props! Dana Walker is a callous bitch! Or is Dana a boy? Or does it really matter? Dana either way is self-consumed. The track is an emotional release about what appears to be a break up, or end of a friendship. Jay hides nothing as he rants and raves about Dana. The music is choppy and hard hitting behind Forrest's fury! There is a clear channel guitar section that ties the track together and allows the band to show just how dynamic they can be. The angst does return for those of you keeping score. "Decoys Like Curves" is a masterpiece. The melodies flow out of your speaker and to your ears like water flowing down a river. Everything works the way it is supposed to. Jay sings for the most part as the band frames him for the inevitable explosion. When it hits, death will be the main course. Simply amazing track! Hopesfall is already in the same class with label mates Eighteen Visions, and Poison The Well. "The Satellite Years" rivals the recent works from both PTW and EV, and this is Hopesfall's debut. That speaks volumes about this bands future. Spin it and like it, cause this will not be the last time you hear this bands name. Pit Scale of 1 to 10: 9! Spaceship jelly fish, humans posing as jelly fish, the aurora borealis, what a fucked CD cover! Suggested Tracks: Can't go wrong with any track, but if I had a gun to my head I would pick "Decoys Like Curves"

This has been an amazing year for music. Instead of running to a well that is already running dry, bands like Shadows Fall, Killswitch Engage, The Used and many more have decided to instead build their own. Standing in line and waiting their turn is Charlotte, North Carolina’s .hopesfall. They won’t be waiting much longer, as hopesfall’s new album “The Satellite Years” breaks boundaries and is set to change the way many people listen to hardcore. The opening intro “Andromeda” sets the pace for the album, giving a sensuous buildup that leads into the track “Waitress,” which immediately introduces hopesfall to the world with vocalist Jay Forrest’s piercing screams over some nontraditional hardcore riffage, and screamo choruses. “Dead In Magazines” starts off with some melodic vocals with some raspy screams following into a more melodic chorus and very melodic ending. Very cool drum intro into some driving guitars on "Dana Walker" before Jay breaks in with some singing similar to the intro on the previous track. Lots of screaming for the first two minutes before giving way to more melodic guitars before breaking into more screams. “Decoys Like Curves” starts off very melodic and for the most part stays that way throughout the song. Very pretty, somewhat repetitious ending. “A Man Exits” continues on along the same lines as the pattern built in the previous songs, leading into the beautiful instrumental “Redshift,” which serves as a nice interlude into the explosive intro on “Only The Clouds,” which is full of incredible leads and brutal breakdowns and is probably the most hardcore song on the album. “Escape Pods for Intangibles” is a beautiful song that feels like it is building up into a punishing breakdown, but simply stays down and melodic. Very cool song. They close out with the amazing track "The Bending," which is a six and a half minute rollercoaster ride, full of ups and downs, screams and cries, and an absolutely amazing way to finish the album. Jay Forrest is probably my favorite vocalists in hardcore. Actually, while it’s tough not to call his vocals hardcore, at times they aren't, adding somewhat of an indie flare. Very comparable to what Jeff from Poison The Well does but with way more singing and a better singing voice. Lyrically, the songs almost seem emo at times, but not in the traditional emo sense. While they are emotional, they are definitely not whiney, and seem to be written from the perspective of someone who has come to terms with a situation, and how they view everything in retrospect rather then someone who is writing in the emotional aftermath of a situation. It's a very refreshing approach to writing, and is one of the things that makes hopesfall so amazing. As amazing as the vocals are, I think what really separates hopesfall from their peers is the music. Guitarists Josh Brigham and Ryan Parrish (who has since left the band and been replaced by bassist Chad Waldrup) create a sound that blends hardcore with ambient, at times acoustic overtones that are as soothing as they are violent. It is the perfect blend of melodicness with hardcore, and really allows for Jay to sing as much as he does without taking away from the hardcore feel of the band. Another thing I really like is how there are breakdowns in the songs, but they are so subtle that it doesn't detract from the song. A lot of times, breakdowns are just thrown into a song to make it "brutal," but in fact take away from the overall mood of the song. These songs are still totally moshable, as they have made more then clear through their live show. One of the goals hopesfall has set for themselves is to eventually transcend their supposive genre or genres that they have been labeled in to, and that is something they do with "The Satellite Years." It's too hard to be emo, not quite hard enough to be pure hardcore, but I don't think I would call it emocore. What it is, is in a league of it's own. I think over the course of their career, Hopesfall could go down as one of the more influential bands of their time, even moreso then bands like Thursday and Poison The Well. Fans of those two bands as well as bands like Glassjaw, Sky Came Falling and Avenged Sevenfold will be all over this album. Easily as of now one of my top 5 albums of the year. Rating: 10/10

Hopesfall have risen to prominence in the emocore ranks as of late so it is by no surprise that they were summarily snatched up by a label as high profile in the scene as Trustkill Records. What was surprising though was the fact that band frontman Doug Venable exited the fold just as the band got signed, leaving Jay Forrest to step up and take the vocal reigns. While such a change could be devastating in other genres, Hopesfall barely miss a step as most fans of hardcore are accustomed to such changes as they happen almost daily. But while Forrest represents a somewhat different face for the band, his contributions are not what necessarily set this album apart from "No Wings To Speak Of". Whether it be the fact that Hum mastermind Matt Talbot produced the album and even guests on a track or just a new approach the band wanted to take, "The Satellite Years" finds Hopesfall beginning their journey into a much more spacier approach, drifting through mature and atmospheric melodies that bring to mind the type of change Cave In brought with "Jupiter". Not as full fledged as the latter however, Hopesfall still bring a cargo hold full of aggression on their space odyssey, juxtaposing their graceful melodic passages with sneering riffs and ferocious vocal barks, navigating a soothing ride full of scenic heights and violent lows. All around more honed and balanced than the band have ever been in the past, "The Satellite Years" is a solid album from top to bottom and is definitely a big experimental step that many may have not seen coming. This might make it a bit controversial to the bands older fans as its expansive nature and complex rhythms can tend to slow the pace to a crawl now and then, but despite such pacings its attention to detail and continued dynamic struggle add more substance overall. In fact, even with the distinct progression into headier turf, the band still have the balls to indulge in a few violent breakdowns and as such the album is able to run the gamut of sonic tapestries, only to then set them all aflame. Sure it may not be the most ground breaking effort out there to date, but the music contained on this record suggests that it couldn't have been titled any better because much like a Satellite it represents the spacey direction the band have headed in, not to mention the fact that it will propel them to new heights and help them broadcast their music worldwide in the months to come.

While most hardcore bands lean heavily on the all-loud-no-holds-barred-pure-rage style of this genre, Hopesfall has a quieter side. It’s a personality they show in their Trustkill debut, "The Satellite Years." The band’s incredible musicianship makes them brutal yet reflective; enraged yet subdued; one minute homicidal, the next, pacified. Take, for example, lead-off track "Andromeda," this beautiful instrumental piece opens the album in a spectacular fashion with dreamy, spacey music that grabs the listener immediately and never lets go. After the opener, Hopesfall do the only honorable thing: they pelt you with the next track, "Waitress," which is a complete contrast to the latter one. Vocalist Jay Forrest shreds his throat quite remarkably here, screaming much harder than Jonathan Davis or Fred Durst ever could. At times, you wonder if he's going to lose it, but when he doesn't, you love him all the more. "Dead In Magazines," another album highlight, sees a similar method of vocalization. It's more melodic, featuring acoustic guitar breakdowns and at times soaring vocals from Forrest. Not only can this man scream something fierce, he can sing up a storm as well; along with Poison The Well's Jeff Moreira, he's one of the best you'll hear in today's scene. While Forrest does a great job ripping apart his throat, guitarists Joshua Bringham and Chad Waldrup do an equally amazing job shredding their guitars. The two manage to be both simplistic yet complex; they weave their harmonies together in a way that's exquisite, yet completely savage. After listening to this album, it's quite clear that these two guys have some of the most unique playing styles in the rock world. Sure, there may not be any solos, but here's the all-important question: Is Steve Vai hardcore? I didn't think so. This album is incredible from start to finish, and while fans of subdued and radio-friendly rock pour les masses may dislike it and abhor it completely, the fan of experimental and heavy music will find it a godsend in a world dominated by corporate, closed-minded idiots and rock bands who can't think past "verse-chorus-verse." This comes at a time when revolution is badly needed in a world of rock and roll that is more concerned with cashing in on the buck than making music that matters. Just when you thought there weren't any "real" bands around, Hopesfall prove you wrong. “The Satellite Years” is a welcome change.

The album starts off with two tracks that make Hopesfall's style apparent. An instrumental showcase of the, dare I say, emo influence that the band embraces while still retaining their deceptively hardcore sound. An atmosphere is created by this balance and carries the album, from start to finish, with beautiful precision. When this album rocks, it does just that. At the same time, when it slows down a bit my ears ask for more. One could say that the whole "hardcore, vocal harmony" bit has been done before, but without first hearing what hopesfall has to offer that statement is unfounded. Hopesfall isn't one of those bands that could, simply, be dismissed because of this extremely well organized organized album and their interesting talent that needs to be heard to understand. The instrumental parts along with accompanying harmony of voice is very reminiscent of bands like Grade, Atreyu and The December Drive, while the heavy parts come from a traditional vein of hardcore. This is a well rounded album which carries over seamlessly from their previous record, No Wings To Speak Of. I love hardcore and I love this album as a beautiful and necessary addition to the Trustkill discography. A must have!

Whenever I think of this disc's title, I keep singing that POD song that goes, "Saaaaaaaaaaaaatelliiiiiiiite." Yeah. Anyway, this is the band's first release since joining the Trustkill and it's definitely a positive progression from their earlier works. Most obvious is that band is slightly less metalcore, but far more methodical. I doubt anyone would call HOPESFALL a mathrock band, but there's a certain type of well-planned deployment vibe going with "The Satellite Years" that makes it seem like a very deliberate, tasteful, yet still a very heavy release. As a general matter of consistency, all ten of the songs that make up this disc, including the instrumental tracks, are all extremely cohesive, allowing for stand-out moments, but no diversions or pauses in composition. While intrigued for the first four songs, it wasn't until the fifth track, "Decoys Like Curves," where I took a step back and swallowed whole my appreciation for HOPESFALL - this is a song that tears into your brain with hooks that retain only the largest of sea mammals. There's so much going on in songs from "The Satellite Years" that it can be challenging to assess all the surrounding elements. Guitars trade off from quiet noodling to all-out chuggs; vocals usually scorch with growls of fire, but a melodic passage or two don't sound unexpected or out of place; and the drumming is solid and creative. This is one of those disc's where when given proper headphone treatment, it's a dream to soak in the atmosphere. I hear all sorts of different bits of bands converge in HOPESFALL's sound, ranging anywhere from NORA to THURSDAY, and while that might not make a lot of sense, it sure gives credit to their ability to work well with seams. The final track, "The Bending" sends this release off on a seven minute long catharsis smoldering with chunky rhythms and an edge that raises the hairs of your skin. Although I wish I didn't have to wait to the end of the disc to get that musical high, HOPESFALL provide the perfect poison.

Charlotte, NC's very own Hopesfall are finally here with their much anticipated Trustkill debut album "The Satellite Years". This unit formed in 1998 and haven't looked back since, gaining quite a steady following along the way. "The Satellite Years" is an album that is melodically beautiful yet destructively damaging, and with the new ground that has been tred and boundaries that have been broken by this act, hardcore will never be viewed the same again. Jay Forrest shows a lot of talent up front on vocal duties. His ability to change between raspy growls and melodic croons is great and adds much atmosphere to the tracks. The guitar work showcased here is absolutely awesome and rivalled by no other band in the genre. Joshua Brigham and Chad Waldrup work together well, creating dynamic and interesting guitar peices that will leave you in admiration. Adam Baker on bass and Adam Morgan on drums make up a solid rhythm section that keeps everything intense and following. No bullshit, "The Satellite Years" is easily one of the better albums released in 2002. With this release, Hopesfall have raised the bar in the hardcore genre to a new level for all bands to follow. Even the magnificent album artwork is sure to grab people's attention. "The Satellite Years" will appeal to a wide range of people and I urge everyone to pick it up and give it a listen. I don't think it is possible for this album to dissapoint anyone.

Having achieved only something that can be critical to any hardcore band, gaining status on Trustkill seems to be a good thing these days. After success from past releases on Trustkill as Poison the Well and Hatebreed, Hopesfall seem to be in some pretty damn good company. 'The Satellite Years' is definately an album that will be turning some heads as well. Hopesfall bring forth what would be classified as raw emotion, mixed with enchanting guitars, and pulsating drums. The mix of emotion and talent drive these guys to impress mentally with their somber that could sooth the soul while their aggression lets you feel the pain. Getting you ready for the madness Hopesfall give you a taste of their talent through the instrumental 'Andromeda' to begin the album. From there the mayhem insues with such heartfelt intensity filled tracks such as 'Dead in Magazines', 'Decoys Like Curves', 'A Man Exits' and 'Only the Clouds'. They also know how to take it down a level a sooth your wounds with 'Red Shift' and 'Escape Pods for Intangibles'. *9.5/10* - 'The Satellite Years' is an album for the masses, filled with emotion, intensity, aggression, and talent..Hopesfall have a real winner here. Expect these guys to follow the lead set by their label mates and be making a huge impression very soon.

Pure chaos and beautiful melody come together on Hopesfall's third release, The SatelliteYears, out October 15th on Trustkill records raises the bar in modern metal/hardcore. Taking audiences on a roller-coaster ride of emotions here, Hopesfall trancends the hardcore genre, and reaches out to fans of bands like Radiohead and Cave In. This is THE release for both Trustkill and Hopesfall, and will put them on the map as one of the kings of modern metalcore. (5 out of 5)

Well. What can we say. Trustkill has to be the best hardcore label out there at the moment. And here's more proof of that. Hopesfall delivered an incredible album. I don't think many people in Europe have ever heard this band or of this band. Well, they play really intense music, switching great atmospheric, melodic passages with intense, Serene alike screaming. It's intelligently written music, sounds kinda commercial because of the hooks and the catchiness but will never be, as the song structures are way too complex for the crowd. And please, if you pick this up, have a look at the lay out. Simply amazing. A perfect release!

Hopesfall, a 5 piece post-hardcore outfit from Charlotte, North Carolina, bring the world their new full length "The Satellite Years" through Trustkill Records. The albums first track "Andromeda" is an instrumental intro. Harnessing the power that will be unleashed in the coming 9 tracks. As the second track "Waitress" kicks into gear, the true musical trip begins. As lead singer Jay Forrest unleashes brutal screams which will turn into gentle outcrys, guitarists Joshua Brigham and Chad Waldrup showcase a unique style throughout the entire album. If you were to look at "The Satellite Years" as a whole, it could be best described as beautifully melodic yet at times brilliantly shaped hardcore. Tracks like "Dead In Magazines" and "Decoys Like Curves" exhibit the way Hopesfall give listeners a break from the malevolence and let them take a breather with slow and ingenius guitar breakdowns. Every song is a ride where the music steps up to a fast, savage state then will take you back down to a musical wonderland. This record puts the listener in a different place. Hopesfall have created an album that sets them apart from the other acts and the other albums this year. Hopesfall are on a higher, more evolved level. Even more impressive than the bands studio recordings, is their ability to achieve the sound live and keep the crowd in tune to what they are witnesses too. If the chance arises, catch Hopesfall live... and pick up their new album "The Satellite Years." SCORE: 5/5

This is the second LP from Charlotte Noth Carolina natives, Hopesfall. This is their first release on Trustkill Records, and with their new singer, Jay Forrest (Doug Venable being the original singer on both the first LP and EP). I was one of the lucky people who purchased this album at the show they did in Montreal (because they brought like 20 copies that sold out in 5-10 mins). And let me tell you what, i was not disapointed at all. Even if it sounds different from the other two albums, The Frailty Of Words and No Wings To Speak Of, it's very good. The music, I find, is more mellow, like Eighteen Visons Vanity, and Poison The Well's Tears From The Red, but yet intense. There is no striking difference in the vocals, even if it's a new singer, the voices are quite similar. Also on this album, there's more siging, meaning, comparing to the other two albums that were more screaming lead vocals and siging back vocals, is now more singing in the lead. Not at all a bad thing. The lyrics are mainly spiritual, emotional and of social content. Even if this is a christian band, they don't preach about it in the lyrics (if you think they do, please tell me where). The music, is as melodic as it always was, just like a said before, more mellow some times. There are also instrumental tracks on this album (they sound a little like ...of sinking ships, a side project of guitarist Chad Waldrup) just like on the first LP. There are no acoustic songs on this album (exept there's an acoustic part at the end of the song Dead In Magazines). In my opinion, this is an exellent album. I was, and still am, a big fan, ever since i first heard them. Even if it's different from the other two albums, it still is that Hopesfall sound i like so much. I can't say wich song i prefer, but songs, well.. i kind of like em all, they all have their own sound that please my ears. If you liked the other two (excellent) albums, The Frailty Of Words and No Wings To Speak Of, you'll probably (hopefully) like it.