There's probably nothing worse in life than emocore, which is why Hopesfall baffles me. I actually kind of like them. They have the perfect ratio of dissonance and melody, with great groove-ridden riffs and simple structures with underlying nuanced complexity. When I become dark lord of the universe and destroy all emo bands, Hopesfall shall be spared... perhaps.

There will be some out there willing to write this off as a Zeitgeist-chasing cop-out. For while previous release The Satellite Years was teeming with screamo aggression, A Types finds Hopesfall in a far more melodic mood, their more furious tendencies pushed well and truly to the side. But no matter what the naysayers will have you believe, the result is an album of classy, surging emo-rock with an enormous production courtesy of Steven Haigler (Brand New) and a slew of songs that will appeal to fans of the Deftones' later work as much as they will those who love Taking Back Sunday. Though it does tend to drag at times, there's no arguing with the dynamics, passion and memorability of Breathe from Coma and It Happens. Nice.

I was somewhat torn on this band's last record, in that there were elements I really enjoyed, but overall it wasn't really clicking with me. Well, there are still some minor setbacks happening here that I'm not totally satisfied with, but the songwriting is definitely progressing. The choruses are a little catchier, the vocal harmonies more emphatic, the writing more fluid and cohesive, etc. It's definitely got an air of marketability to it, I mean, this stuff could sort of get "big" on some level, but I'm fine with that. There are still smatterings of subtly technical picking patterns and lightly metallic riffs amongst the laidback and openly melodic passages, and even though the general fare is basically heavy and dynamic emo, there are still some crunchier moments that hit a little harder or get a little discordant (see portions of "Icarus" and "Matchmaker's Haven", for example). I think the singing could be a little stronger, I definitely like the harmonies, and the backing screams can add some changeups that help, but the singing itself needs just a little extra push forward to really carry the emotion of the songs. They're still getting there, so it's cool. Opener "It Happens" (which uses more indie rock kinds of influences) has one of the catchier choruses herein and is a solid starter because it hints at what's to come without really giving anything away; "The Ones" contrasts clean passages with midpaced heaviness and strong dual guitar layering very nicely, probably better than most of the other compositions herein, later bringing in some of those droning guitar textures that are becoming so popular as of late; and closer "Per Sempre Marciamo" is a little slower and longer with some of the more lush clean passages and soft vocals with lots of effects swirling around. The recording is good, but I do think adjustments could improve the album itself. It's not quite bright enough, for one thing. The tones are all pretty solid, but it's a little muddy, so I'd like to hear the bass given more definition and then everything else cleared up a little with more character to the tonality of the instruments. The percussion sounds pretty damn great as is, so that should probably stay put, and I do appreciate the bass presence a lot. So� maybe just inching back on the low-end of the bass and giving the guitars a little more punch? It sounds pretty effective regardless, so that's great. The layout's beautiful on this thing. The text is crisp and compact, and all of the artwork is bold and contrasts deep blacks with vibrant colors, with a style that's kind of digital and kind of painterly. Very unique. The imagery is sort of a weird mix of astral looking fire/water styled color schemes and suggestively angelic types of shapes at times, and it's all pretty interesting. The lyrics are definitely curious as well, personal, and dealing with common topics of love and loss and such, but the phrasing is more creative than average so it really hits on some strong moments. "In a season of collapsed lungs, there's a dark holiday and we are following straight lines to death." A definite improvement for the band as a whole. I'm looking forward to their future work, because I really doubt they've reached their full potential yet, and it's nice to be able to recognize such a solid progression from one record to the next over the course of a few years.

A TYPES isn't nearly as heavy as SATELLITE YEARS, Hopefall's Trustkill Record debut. That album was marked by breakdowns and these painfully pretty, shimmery guitars. A TYPES pretty much forgoes all the mosh n' meat of SATELLITE YEARS, and straddles the line between moody hardcore and emotional indie rock. And it's okay to change styles and not make the same album over and over again. This North Carolina quintet employs two guitarists in its ranks, but rather than trading leads, Hopesfall uses its axes to layer the sound. "Start and Pause" and "Icarus" are the album's most punch tracks, while "It Happens" and "The Ones" are prime cuts for the metal fan looking for something a little more subdued and a little less clobbering, yet with all the passion and youthful energy.

With Steven Haigler at the helm, known for his work with Brand New and Quicksand, Hopesfall were sure to get what they were looking for, and with A TYPES that sound is a sure strike in the right direction. Mixing dissonance and melody, A TYPES, Hopesfall's follow up to 2002's THE SATELLITE YEARS features a whole new sound from the once screamo moniker the band were giving following the release of their past two albums. Exhibiting a rather mature and confident sound, a sense of challenge and creativeness is viably found in A TYPES, making it a boundary pushing album, full of expletive melodies and spaced out riffs followed by heavy driving breakdowns. Engaging in the three previously mentioned characteristics, Hopesfall start things off with the deviously catchy and guitar driven, "It Happens". Containing some of the albums more poppy lines, Hopesfall push you into submission with the delving track that pertains to the always-pertinent situation of love. Following "It Happens", another arresting track, this time containing the aforementioned heaving driving breakdowns along with emotionally adroit lyricism, captivating, as it is this song seems very short lived. Pushing creative boundaries, Hopesfall, a few tracks down the line introduce you to "Breathe From Coma". Amidst the noisy atmosphere that this track creates a sense of bliss and rapture can be found, in turn providing one of the more angelic tracks found on A TYPES. The devastating brilliance only ensues as Hopesfall unleash another handful of intelligent craftwork. In the mix are two stand out tracks, one being "Manipulate the Eclipse" which touches upon Hopesfall's sound that was predicated in their past releases. While not totally abandoning their former sound, Hopesfall take another stab at bringing back the inanimate, and "matchmaker's Heaven' does exactly that. Deeply energetic breakdowns and cathartic singing bring back hints of the old Hopesfall. Rather than living in the past, Hopesfall take off again and end the album off with "Per Sempre Marciamo". Breathing off expressive sounds, and exertive talent is shown as "Canto funebre forever we march you've made a sea of calloused hearts to loathe" is heard and in retrospect you can only belittle what the true meaning behind those lines are. While in the minds of many Hopesfall took two stops backwards with this album there is a strong impression that Hopesfall, in reality took two large steps forward. Even though their hardcore sound hasn't left and imprint on this album as largely as it has on their previous work, the receptive sound that is heard on A TYPES screams to be heard by fans from all over, every musical landscape will whole heartedly accept this album into their coalition of sorts. Keeping in touch with the world around, Hopesfall have created what seems to be and extravagant piece of work and its no wonder people have a hard time believing that this truly happened.

Putting this album back to back with their last album The Satellite Years shows a pretty drastic change in styles. Think of the jump Cave In made on Jupiter but not quite so extreme. Gone are almost all of the heavy riffs, and the screaming is kept to a minimum. Basically the band has gone for a much more spacious rock approach with very catchy songs and very improved vocals. The Cave In reference might actually serve as a good comparison because at times this does remind one of Jupiter, albeit a lot less weird. If this is what Hopesfall has to offer, then you can expect them to be around for a long time yet. With an album that shows a huge progression the band manages to keep all of the elements that made their last album great, but improved upon those elements and added even more new qualities that bring them to a entirely different level.

The new face of modern rock? When the kids aren't really kids anymore; when they're all screamed out; when they've exhausted all the power-chord combinations they know; or when someone at Roadrunner hands them a Glassjaw disc instead of the Obituary reissues, this is what happens. A Types finds Hopesfall dramatically jettisoning the majority of their past and replacing it with Thrice, old Incubus, Glassjaw and Christiansen - resplendent with choruses ("Champion Beyond Blessing" and "It Happens") and swelling dynamics ("Start & Pause"). Sure, the rock may overshadow the punk here, but Hopesfall have struck an intelligent balance between the mainstream and the underground with A Types.

Midtempo Emo: With a new title like A Types, one might expect the new Hopesfall record to be as aggressive and dominating as the personality order the band apparently decided most aptly described music herein. Unfortunately, that is just not the case. What we have here instead is definitely a Type B record: relaxed, unperturbed, sans any malice or anger. Hopesfall flirted heavily with their quieter, emo influences on their debut record, The Satellite Years, but the beauty was boxed in and guarded by burly beast of metal riffs. On A Types, the midtempo melodic meandering has completely taken over and, there is far less powerful. What once served as a lull in a heavy, aggressive song to build tension has now become the song itself. It isn't until "Matchmaker's Haven," more than half way through the record that there is a glimpse of the Hopesfall's metalcore we knew and loved. And it is all too fleeting. Every good band evolves, and A Types remains a passionate, sometimes intriguing record. It may even win the band new fans in a different genre. But it is such a drastic departure from the band's hardcore roots, it will be the dedicated fan indeed who crosses this mellow bridge with them.

For me personally, a release from Roadrunner Records is usually a safe bet, as in my opinion, this label hosts several very interesting bands. I often had the feeling that it was (maybe somewhat too) easy to characterise a "Roadrunner-band". Often, when a new band was singed, their sound fitted unmistakable between that of the previously signed bands. It seems like the last months have brought a larger diversity into the styles of the bands whose albums are released. The release called "A Types", from Hopesfall, is such an exception to the rule (and in fact, a pretty good one!). A Types is the second release for Trustkill Records of this band, after the album The Satellite Years. Difficult to characterise the sound of these guys exactly, I would say it lies somewhere in between Deftones, At the Drive In, and maybe a little Red Hot Chilli Peppers (especially in the bridge of the song Manipulate the Eclipse), but also bands like Finger Eleven, and Funeral for a Friend come into my mind. Crossing the existing boundaries is what this band musically does. With their energetic and melodic guitar parts that form the core of the songs, surrounded by sometimes clean, sometimes screaming vocals. These guys know excellently how to change between calm and heavy pieces. All in a dark, dreary style, with howling guitars and emotional loaded vocals. Besides, this dark style is also reflected in the album artwork and booklet, which would really get the five stars if I had to rate that as well. Hopesfall has been touring almost two years with bands as Coheed & Cambria, Killswitch Engage and The Ataris. Not a small thing, therefore I guess that their live shows will be interesting as well. For the next month, they will be touring in the States, hopefully they will cross the ocean soon so we can see them as well.

There is no surprise that when someone mentions the band Hopesfall everyone thinks of hardcore screaming and tightly packed guitar riffs. That is, until now. The release of Hopesfall's new album, A-Types, shows the band taking a very different approach on their fourth album then on the previous, and sets it apart from the previous Hopesfall releases. One of the first things I noted about A-Types was that it seemed to have been toned down in comparison to No Wings To Speak Of and to have had a more radio friendly vibe to it. I personally think that this was a step forward for Hopesfall as they have seemed to loose much of screaming that had become increasingly annoying in the underground scene today after a countless amount of bands had added pointless screaming to their sound (example, Hawthorne Heights), however, this does NOT take away from the general Hopesfall flare. Subtracting the screams, Hopesfall make it evidently clear that their vocalist, Jay Forrest, has talent. Also, by doing this, it made the album seem to have a lot more raw emotion and more personalized (minus the next point). After noting this first point, I started to hear a familiar sound in this album, which I could not see at first. Then it struck me. It seemed that Thrice had influenced this album process, as it sounds somewhat similar to The Artist In The Ambulance here and there. One of the negative things I found about this album is that two of the songs ("Breathe From Coma" and "Champion Beyond Blessing") sound somewhat exactly the same, mainly because both songs expose the same guitar riff in the chorus, which is not very hard to miss (both good songs in their respects). A friend of mine had stated that this might have been done on purpose and were meant to coincide. But hey, who knows? All in all, this album is mind blowing, and is a definite must have. A-Types is definitely one of Trustkills best releases of 2004.

One great thing about doing quarterly issues is that since we have so long in between the issues we are able to see what other publications and webzines say about records we are about to review. They never ever help us write the review or help us change it, but we do get a general vibe from everyone else. And in this case they are all wrong. Because (unless you haven't been looking or just want to look the other way) many reviewers are not into A TYPES, the newest full length from Hopesfall-but the fact is it's good, really good. And the sad thing about that is maybe these people are using the stupid "hot one year, not the next" mentality that jaded reviewers often fall back on. Yes, Hopesfall got almost too big too fast in the last year but that doesn't have anything to do with the music on the record. I have seen this happen to THE GET UP KIDS, SAVES THE DAY, and even TAKING BACK SUDNAY. When was progress a negative thing? What, was great production and sound a problem? When did sounding like a major label band become so fucking uncool? I don't know, but Hopesfall from day one has been writing the music they have on A TYPES, its' just a little better and maybe a little over the heads of the typical music reviewer. Notice how I didn't say "music fan" the fans know what they want form this record-the critics don't. GREAT RECORD.

It's been two years since Hopesfall's magnificent full length debut THE SATELLITE YEARS was released through Trustkill Records. This album was a groundbreaking, genre-defining album that reached a kind of mystical regard among hardcore fans. The band has always been well known for combining incredibly melodic guitars with tight, complex drum work sprinkled with vicious screams, luscious croons and signature fist swinging scissor-kicking breakdowns. A lot seems to have changed in two years. Having been joined this time around by a new drummer and a new guitar player adds to the feeling of change in Hopesfall's sound. Now I am a HUGE fan of all Hopesfall's releases (including the TK EP NO WINGS TO SPEAK OF and their first full length THE FRAILTY OF WORDS) so I had very high expectations for this album. I was expecting the worst when I learned that Adam Morgan, the original drummer, had left the band. Many fans, myself included, felt that he gave Hopesfall their signature sound. While the complex, intricate drum work of past releases is gone; Hopesfall has managed to create on of the freshest sounding albums to come out of the scene recently. Some are going to consider this their "sellout" album...well if writing fantastic songs that are quall catchy and heavy then just about every band has sold out. Each song shows incredible growth with the member's roles in the band. The guitar work is once again magnificent and really holds together the signature Hopesfall mood with spaced out, beautiful riffs. The bass anchors the whole album down and really stands out among other hardcore releases. The real story this time around is lead singer Jay Forrest's voice. Up until now we've really only heard him scream the majority of their songs...now there are less than a dozen screams on this record. Jay really steps out and shows some incredible vocal talent and truly fronts this band with singing like very few hardcore bands manage to do. Old fans are going to have to really listen to this with an open mind because this album is a MUCH needed entry into a scene flooded with bland and stale metal core and carbon copy bands. It's a fresh sounding album that is going to open this band up to a lot of new people. Truly an outstanding effort.

They grabbed our attention two years ago with the celestial sonics of their Trustkill debut, 'The Satellite Years', set about conquering the underground scene in the US and made a sizeable dent when they hit the UK for a summer Rocksound-sponsored tour. Now comes the 'difficult' second album, which on first impressions sees Hopesfall's spiky appeal and signature arpeggiated guitars ironed out. And what's this? They seem to have gone all Glassjaw on us. Surely that can't be right? A grower not a show-er in every sense of the word, it's only after a few plays of 'A Types' that the beauty of the band shines through. Take the rough/smooth ride of 'The Champion Beyond Blessing' loaded with rumbling bass lines and fragile guitar-picking and 'Manipulate The Eclipse' which grooves, despite the somewhat awkward time shift. Soon to be classic.

I've always been a fan of Hopesfall. Their music, to me, seems to be a little more artsy than their contemporaries, which I see as a great quality. Their last album, "The Satellite Years", was an incredible album that swam through an array of musical styles. Even though there were different styles on the album, I read several reviews that put them into the "screamo" category. Although I wouldn't agree with that, I could understand why they would think it. Well, that won't happen anymore. Why? Hopesfall's vocalist Jay Forrest made an incredible change in his style by barely screaming on the album. The result is amazing. He has a great clean voice that is every bit as powerful as his screaming voice. When I first heard the album I thought that the band had made an incredible overall change from "The Satellite Years", but after listening to it again I realized that, musically, what I thought were changes are just polished progressions from the last album. On "A Types", the band improved the parts that made "The Satellite Years" so compelling. The emotion and songwriting show that this was a labor of love for Hopesfall. Comparing this to "The Satellite Years", I can tell that they worked really hard and made the album they wanted to, instead of thinking about what they have done. This album presents quality in every aspect, vocally, lyrically, and musically. This is an incredible album that I can't stop listening to. Hopesfall, once again, made an album that swims through an array of styles, and still managed to have a style all their own. Something tells me Hopesfall is going to be a band that will surprise with every release.

Hopesfall is generally considered a melodic-hardcore band, but these guys are certainly more than just another Story of the Year. The band's sophomore full-length, A-Types, finds vocalist Jay Forrest giving a slightly less guttural but even more intense performance than he has on the band's previous records (The Bending and No Wings To Speak Of [EP]), allowing his strong, sobering singing voice to carry much more power on tracks like lead single "Icarus" and "Breathe From Coma." The absolutely absorbing breakdown outro on "The Ones" lifts A-Types to a whole other level thanks to the simultaneous, echoing guitar work of guitarists Josh Brigham and Dustin Nadler. Atypical in a good way, A-Types defies categorization by finally, and firmly, defining Hopesfall's aggressive sound.

Most young bands undoubtedly morph as they mature and find their calling. Throw-in member changes and this process is accelerated. Hopesfall's last full-length was your prototypical hardcore record, which was solid but nothing ground breaking. After some lineup changes, the band is back with A Types, an album where the band is slowly shedding its former self. I was surprised as track one, "It Happens," came on my stereo�a melodic upbeat rock romp. I had to eject the CD and make sure I had the right band. The subsequent track, "Start & Pause" revealed to me that this band had changed. Their sound is much more melody-driven with sparse sprinkles of hardcore screams. The hardcore parts sound pretty tame though. I get the feeling that the screamo element is slowly being phased out. I would liken the band's new sound to Glassjaw and the Beautiful Mistake, another band that recreated itself recently. All in all, Hopesfall's new effort is different but truer to the band's talents.

With the wishful desire that HOPESFALL exists as a band for a long, long time, A Types may eventually been seen a cornerstone release for the group, where its emphasis on hard rockin', shoegazer-like tunes finally surpasses its born-in-the-hardcore-scene influences. A line has been marked in the sand, and it would seem improbably for HOPESFALL to revert back to its beginning ways in the future. Although I miss the way this band used to so naturally deliver gripping hooks and rhythms, A Types has its own unique benefits, including a vocal pattern that is personal and memorable, and an overall warm tone that consumes my listening efforts. With ten tracks that run for over forty minutes, HOPESFALL has stretched out its songwriting to cover slower tempos, and more repetitive rhythms. Repetition in this case works to the band's advantage as it tries to nail down encompassing soundscapes. The second track, "Start and Finish," is a pretty good blueprint of what HOPESFALL is striving for, beginning with a screamy, awkward intro, and its transformation into a built-up trip of rolling guitars and pointed drumming. "Icarus," is the first single from A Types, and while it has a fairly catchy chorus, there's nothing particularly smooth about the track that casts it apart from the rest. The following track, "Breathe From Coma," is one of the more intricate songs on the recording, and I really dig the juxtaposition between the high-pitched, layered guitars, and the stark, bubbling bass during the song's bridge. The latter half of this release feels a bit lazy compared to the first, with the songs tending to merge into one another (not intentionally), and the vocals suprisingly take on a style that inches towards that of GLASSJAW's Daryl Palumbo. A Types is rounded out with beautiful artwork, courtesy of a group called The Ends. The insert booklet is stocked with rich illustrations of space and water themes that absolutely identify with the fluid characteristics of HOPESFALL's sound. Admittedly, I think I dig this band's previous release, The Satellite Years a bit more than A Types, but I certainly appreciate the direction that HOPESFALL is heading in, especially the expansive musicianship, and I get the feeling that they aren't even close to perfecting their vision at this point in time.

A Types is the first release from Trustkill veterans Hopesfall in over two years since their acclaimed full-length, The Satellite Years. A Types presents a completely different face of the band than any of their past releases, tapping into the more melodic and lighter side of Hopesfall. But is the lack of "heavy" necessarily a bad thing? The disc opens with "It Happens," a calmer track constructed around a pure melodic sound. It is reflective of the overall sound pervasive through the record, which is dictated by more of a melodic rock vibe than the band's past creations of intense hardcore. The instrumentals are still rooted in the classic Hopesfall sound, encompassing beautiful melodic lines. However, the riffs lack the heavier edge which dictated past releases. Nevertheless, the record is still very guitar centered, with equal emphasis on rhythm and lead lines. In the fourth track, "Breathe From Coma," the band makes interesting choices with composition and underlying riffs to create an attention-grabbing blend. Vocalist Jay Forrest's wide-range of talents are a savior on this record. Forrest's ability to sustain a quality melodic line adds to the tracks. There's a constant wait, though, for a little bit of a vocal push from Forrest to increase the intensity of the songs. It is not that the overall mood is inadequate, it just moves a little too slowly. The record does pick up a bit on track eight, "Matchmaker's Heaven," a well-composed track highlighting the band's progression. Regardless of the lagging pace, Forrest has command of his vocal lines and dictation. Despite many aspects of the band's transition being smoothly executed, Hopesfall almost seems to be masking the obvious edge of which they are capable. It is not the scarcity of screams present on the record, because that is not what Hopesfall seems to be concerned about, but rather the execution. On tracks like "Start And Pause," the harder vocals seem to almost be watered down and lacking full capacity. The entire record has less edge which creates a different sound, but the shift in sound does not lower the bar for a band capable of carrying out all parts brilliantly. Hopesfall taps into a nicely broad melodic scope with A Types. Admittedly, the overall lighter persona of the record is unexpected, but it doesn't lose its depth. Rather, it shifts to create a dreamy montage in well-executed layers of melody. The record may split the band's fan-base straight down the middle, leaving few people to accept both the past and future of Hopesfall.

If major label A&R folk are still looking for more hardcore bands to sign up in the wake of Poison the Well and Cave In's deals with the corporate devil, then they'll probably soon be salivating over Hopesfall. Like Cave In, the Charlotte, North Carolina five piece offer a soaring, swooping take on emocore that oozes accessibility and displays a melodic sensibility that's - surprisingly - all to rare within the genre. (Is it me, or is most emo, in fact, completely tuneless?) Having shifted a healthy 50,000 copies of their last album, chances is that there third outing A TYPES will double that little jackpot. With good reason: Hopesfall have an instinctive grasp of dynamics that lazy folk might call Radiohead-esque, but is in fact closer to Muse. In their hands, a track like "Star & Pause" can happily flow from staccato to smooth in a few bars, while never losing sight of the song. Even when they slip into generic hardcore, as on "Match maker's Heaven," there are enough melodic offsets and harmonic twists to lift this above and beyond. If there's a problem with A TYPES, it's simply that some songs are so good as to make you wish they could raise their game throughout to the same level as standouts like "Icarus" or "champion Beyond Blessing." When that happens-next time around, guys? Hopesfall are going to be unavoidable.

While on the one hand I believe that a constant evolution of a bands song writing ability and sound is a necessity from album to album in order to keep people interested, I also believe that it can sometimes it can be to a bands detriment (Especially to any sort of fan base they’ve gather in that time from previous releases) to change too much too soon. 

And it's here that lies the predicament facing North Carolina based emo-rock act Hopesfall (Who are vocalist Jay Forrest, guitarists Dustin Nadler and Josh Brigham, bassist Mike Tyson and drummer Adam Baker). 

After building up a solid reputation as an up and coming hard/metalcore act with their debut album The Frailty Of Words in 2000, 2001’s EP No Wings To Speak Of and 2002’s The Satellite Years, Hopesfall have decided to push their sound further than ever before with A Types (Taking it’s name from an Type A personality, which is described as “A temperate marked by excessive competitiveness and ambition, an obsession with accomplishing tasks quickly, little time for self reflection, and a strong need to control situations”). 

From the moment the opening number ‘It Happens’ begins, you can tell that Hopesfall have taken on a radical change of direction from their past releases. Gone is the hardcore experimentation of the past, and in its place is the simplified structure consisting of standard verses and choruses. Forrest’s cleaner vocals also take on a dominant role too, with virtually none of the screaming that was predominant in the past. But that’s not to say that ‘It Happens’ is a bad song. While hardly an innovative track, it’s solid emo-rock with an effortless rock vibe about it. 

‘Start And Pause’, ‘Icarus’ and ‘Matchmaker’s Haven’ all inject a little more spirit into the mix with Forrest utilizing a little more screaming from his past, while the guitar riffs are a little more jagged, faster and adventurous (But still retains the more melodic aspect of the new sound). Meanwhile, tracks such as ‘Breathe From Coma’, ‘Champion Beyond Blessing’ and ‘Manipulate The Eclipse’ are clear examples of Hopesfall simplifying their song approach on the musical front with huge sounding chorus that emphasise the melodic aspect of their writing. 

But for the songs mentioned above, both ‘The Ones’ and ‘Owl’ seem to fail to reach any the great heights compared to the rest of the album, with the final number ‘Per Sempre Marciamo’ falling somewhere in-between with it’s slower pace and predicate chord structures. 

A Types is a solid album for the most part (If a little bland and simplistic), and will no doubt be hailed by many who have never heard the band before this album. But for fans of their previous releases, A Types might just be a little too far removed from the aggressiveness of their former selves, and will no doubt disappoint.

Hopesfall has been through quite a few changes in the last three years. First they set the bar for metalcore in the new millennium with the brutally aggressive No Wings Set To Speak Of EP. Following a year or more of touring with Codeseven, Coheed and Cambria and a bevy of others, the band reemerged with The Satellite Years full-length, a significantly mellower though more academic effort that borrowed equally from You'd Prefer An Astronaut-era Hum and Antenna-era Cave In. Though I was underwhelmed with their Satellite direction, I kept my ear to the ground with regards to the band hoping that they'd emerge with a little stronger effort during their next at-bat. With A-Types, the band has totally redefined their sound again. This time they deliver much of the same radio-ready fare as nu-emo's current frontrunners (i.e. Underoath, Further Seems Forever, Taking Back Sunday, The Beautiful Mistake, etc.), not that that's a bad thing. Though Hopesfall's vocalist owes major royalties to Glassjaw frontman Darryl Palumbo -- borrowing from him much more frequently that he should have let himself be comfortable with ("The Ones" for example) - he and the band have sharpened their ability to find a solid rock hook and they are using it to their utmost advantage. Though they're not breaking ground or establishing themselves as the forerunners of a genre, as they did with No Wings To Speak Of, this is still a pretty rock-solid effort and is sure to deliver the band an even more substantial fanbase.

Back in 2002, before post-hardcore clambered up a rung on the popularity ladder, Hopesfall set the hearts and imaginations of genre fans ablaze with their ambitious 'No Wings To Speak Of'. Two years later they're back to do the same again, just this time setting their sights light years beyond the US hardcore scene. Where 'No Wings...' saw Hopesfall eschew their humble beginnings and setting their musical course skyward, 'A-Types' sees them soaring assertively in orbit, their metamorphosis into a unique force complete. It's is not only one of the strongest post-hardcore releases of the new millennium, but a surefire future classic, unconstrained by the trappings of 'genre' and destined to become a key reference for the next generation of heavy/melodic acts. Reminiscent of Deftones' identity-forging 'White Pony' in its breadth, scope, and lyrical intelligence, 'A-Types' is thoughtful, spacious and mournful, its vintage poignancy underlined by razor-sharp grooves. Boldly merging discordance and beuaty with a freshly unwrapped cohesion, Hopesfall have not only reinvented themselves, but quite possibly the sound around them. Perhaps not everyone's album of the year, but it's certainly mine.

I would describe this as heavy rock/indy rock influence that makes me thing this (christian?) band as a bit of an updated version of Quicksand mixed with Thursday with mostly snug and some screamed/distorted vocals. It's not something I would have ever bought or checked out before having this sent to me because it's not my thing, but it's done well and doesn't get on my nerves.

Hearing the news of a new Hopesfall record should put the heart of any music fan aflutter, the band having carved a niche for themselves over the last 5 years or more as a creative force and pioneer in creating the genre of melodic hardcore. Having released their last record over two years ago, Hopesfall follows up their breakthrough record, The Satellite Years with this latest full length album, A Types. Desperately creative, A Types shatters all genre boundaries and moves Hopesfall into new musical territory that other bands dare not explore. In order to appreciate this record, the first thing you need to do is forget everything you ever knew about Hopesfall because this album is nothing like anything the band has attempted before. While their first two records, (an early full length, and a four song, 28 minute EP) fit squarely in the genre of creative and experimental hardcore, and The Satellite Years was groundbreaking in its mixture of beautiful melodious songwriting with the impassioned heaviness of a hardcore band, A Types throws off the chains of all the band's past accomplishments and should really be referred to as a rock album, for that, in essence is what it is. In the course of writing this new record Hopesfall may be slapping all of their old fans in the face by giving them something so completely different from anything the band has done before, one would be hard pressed to even recognize the band as the same. This, however, is exactly what makes this album so good. If you have expectations of new genre-defining melodic hardcore, don't hold your breath. What you will get though is one of the most creative and thought out rock albums to be released this year. There are touches of the band's past heavier influences on songs like "Start & Pause", and "Matchmaker's Heaven", and their classic melodic interludes appear throughout the album in songs like "Per Sempre Marciamo" and "The Ones". While these key elements haven't completely disappeared from the music of Hopesfall, their sound has changed, the song structures have changed, and this new record will stretch the average listener to open his ears and hear something beautiful. This record will not be what you expected it to be, but the surprise is worth it. So what makes this new record a rock album as opposed to a hardcore record? Well, the key element is the vocals. There are almost no screamed vocals. Everything is sung, and while the mixture of the two vocal patterns was a trademark of the band before, the sung vocals before tended to be emotionally strained or ethereal in order to compliment the more dramatic musical style of the band. Today, the vocals are more in line with standard rock vocals, strained only on occasion, and matching harmoniously at all times with the musical chords being strummed out from the guitars. The structures of the songs have developed much more defined bridges and choruses as well, although there is the occasional dragging out of a song as has become a hallmark of Hopesfall's writing ala "The Bending". In the end, what's happened is the structure of the music on this album has become much more defined, with less room for experimentation from previous Hopesfall releases, but while the structure has become more defined the ability of the band to improvise within those confines has blossomed in a way to continue to create a unique and unparalleled sound. Before you pick up A Types be ready for an incredibly unique rock album, with light hardcore influences. That is what you'll be getting. Hopesfall has always had a gift to create something beautiful, and A Types is no exception. Old fans of the band beware. This won't be what you signed up for. New listeners, get ready to witness the birth of something totally new and unique to your ears. No matter what your individual circumstance, A Types won't be able to make its way out of your player or your brain for at least a few weeks, guaranteed.

According to the New Dictionary of Cultural Literacy, the definition of a Type A Personality is: "A temperate marked by excessive competitiveness and ambition, an obsession with accomplishing tasks quickly, little time for self reflection, and a strong need to control situations." Now that you know what the album title means, let's get into the meat and potatoes of this review of the new Hopesfall record entitled "A Types". Hopesfall blend hardcore, emo, post-hardcore, and indie rock in a dense, layered sound that flows through little rivulets through the air. Fans of the bands highly liked "The Satellite Years" and "Frailty of Words" will enjoy "A Types" as well. But this record is a lot different than previous offerings. The vocals are a lot less hardcore and cleaner while the production is top-notch and best it has ever been on a Hopesfall album. The sound on this record displays how the bands sound has grown and matured in the last couple of years or so. The album opens up with "It Happens" which is a catchy, melodic song with vocals that flow like butter through an ice patch. The first track I heard off of this offering was track three, "Icarus". It has that traditional Hopesfall sound with a little pep to it. Some of my other favorites and notable tracks on the album are "Matchmaker's Haven", Breathe From Coma" and "The Ones". Their debut album sold over 35,000 copies and I think the buzz and anticipation surrounding "A Types" has the capability to do the same or pass that number. As you know Hopesfall come to us from the great hardcore state that is North Carolina. I believe that they have set the standard for other bands to come out of that state, and even other bands in the entire genre. Hopesfall have played a big role in making the current state of hardcore music what it is and they are continuing to do it with redefinition. "A Types" is a marvelous example of what hardcore music was, is and will be in the future. All in all, this record is a great sophomore follow up for Hopesfall and should be admired by fans abroad.

LISTENING TO Hopesfall is like listening to the nascent post-hardcore bands of the mid-'90s. A-Types, the band's second full length offering, eschews the horrible corporate unit-shifting, radio-friendly sound of many of today's so-called 'emo' bands and harks back to the earthier, ethereal sounds of Texas Is The Reason, Chamberlain or Fireside. If you can remember those bands first time around you'll get a rush of sentimentality and fond memories. If you can't then this will serve as a lesson on how things should be done. 'A-Types' is a consistently beautiful record. Powerful and emotive without ever sounding trite or wet, it conveys mood and atmosphere where others just shout about being rubbish with girls. Put it on your Christmas list now.

From the onset of Hopesfall's sophomore record, "A Types," the differences from its predecessor are instantly apparent. Hopesfall comes across as much less of a hardcore band and more like a very melodically-inclined rock band that dabbles in distortion every now and then. Since the band was never truly a hardcore band in the traditional fashion, due to the free-form, intricate instrumentation and heightened sense of musicality, the changes aren't terribly difficult to get used to. Vocalist-and former Couch resident-Jay Forrest brings a greater sense of melody to the new record than he did to "The Satellite Years" and uses his forceful scream far more sparingly than before. There is more of an emphasis on creating hooks and individual songs, which are typified by stand-alone tracks such as "Icarus" and "It Happens," which are effective on their own more than any individual tracks on "The Satellite Years" were, due to the record's cohesive nature. Outstanding dual-guitar play opens "Champion Beyond Blessing," which eventually gives way to upper-range gentle riffing, which is reminiscent of much of the band's earlier work. But here it is not juxtaposed with throat-damaging screams. The weighty "Per Sempre Marciamo" is an apt closer for the record and brings the album's blend of melody and confusion to a well-summed-up conclusion. As with "The Satellite Years," "A Types" takes a few listens to fully digest, but most good records do. Also keeping with Hopesfall tradition, the album's artwork is phenomenal. The grand scope of the subjects pictured within and the beautiful blend of colors creates a feeling that what is about to transpire on the record is something on an absolutely tremendous scale. In the end, it's hard to not be a little let down by "A Types," although it's a very solid album, due to the majesty of its predecessor, which was a masterpiece. Nonetheless, it's an outstanding record and will definitely find its place within the rock community.

"A Types", the new album by well known North Carolina band Hopesfall, is by definition according to the new dictionary of cultural literacy "A temperament marked by excessive competitiveness and ambition, an obsession with accomplishing tasks quickly, little time for self-reflection, and a strong need to control situations.". The band is taking a leave to their previous sound and trying something new with a wider variety of vocals and much less of the vicious screaming they are so well known for. The lyrical content, however, has not softened up. The songs still are intricately worded with subject matter sticking to that of the album title. Hopesfall may sound different with the new direction they are going, but it is still the same quality but this time it's just in a different flavor. The bands vocalist, Jay Forrest, has widened his vocal range on this album and sings much more than he ever did before. He still belts out his screams but they are less frequent than in the prior albums. The lyrical subject matter is very unique with song titles like "Breathe From Coma", "Manipulate The Eclipse", "Matchmakers Heaven" and others help give an idea of how not emo this album is. This is an album lacking in heartbreak which is refreshing from all these "3 word starting with the" bands that constantly remind you how hard their life has been since their girlfriend left them 3 years ago. Hopesfall is mature in their songwriting skills and always have been. Many people will obviously be saddened at the sound change of the band. You have to look past the sound and really realize what the band is doing with their musical technique. People talk about the band changing their sound just because they are on Trustkill, which is completely off. This is not the bands first release on Trustkill and Hopesfall has never been all about making their music a certain way to achieve a certain fan base. These songs are all meaningful and used to explain in the album through lyrics and singing. The final track on the album, "Per Sempre Marciamo", is a very good track and a strong way to close the album. I have no clue what it means but the song is very good so it doesn't really matter. Hopesfall has successfully lived up to their name regardless of what critics will say. They have taken a different approach to their music. It was not a failure and it was not any less enjoyable. This album is worth its while regardless of the hype or lack thereof. Give it a chance and decide for yourself, but make sure you take it all in to receive the full experience.

It should be pointed out right away that anyone expecting this cd to simply be a rehash of what Hopesfall did on The Satellite Years, then you're in for a real disappointment. If you manage to listen to this cd with an open mind, and without any preconceived notions, you will find a very well crafted modern hard rock cd. Many of the heavier aspects of older Hopesfall have been shed in favor of focusing on an emotional hard rock sound. Rarely will you hear any screaming, although the few places where it does show up it definitely adds to the song (see "Icarus" for a perfect example). The vocals now focus heavily on the emotive and melodic, which seems to be a very natural progression for them. It doesn't feel forced at all and instead complements the new musical direction they've ventured in. The songs on A Types have less stress on being heavy and more on simply being good hard rock songs. The guitars still have a metallic edge to them, but only edgy enough to make their sound an authentic one, separating them from the throngs of glossy radio rock bands proliferating right now. Don't worry, there are definitely some moments of wonderful distorted guitar playing beauty, such as on "The Ones", but for the most part the overall intensity of the band has been restrained for this release. Now don't get me wrong, this isn't some weenie rock release. It is still a pretty heavy and rocking affair, but in comparison to what Hopesfall has already put out, it comes off as pretty tame. No matter how you look at it, though, this is one fine hard rock cd that deserves to be added to your cd collection.

There is no surprise that when someone mentions the band Hopesfall everyone thinks of hardcore screaming and tightly packed guitar riffs. That is, until now. The release of Hopesfall's new album, A-Types, shows the band taking a very different approach on their fourth album then on the previous, and sets it apart from the previous Hopesfall releases. One of the first things I noted about A-Types was that it seemed to have been toned down in comparison to No Wings To Speak Of and to have had a more radio friendly vibe to it. I personally think that this was a step forward for Hopesfall as they have seemed to loose much of screaming that had become increasingly annoying in the underground scene today after a countless amount of bands had added pointless screaming to their sound (example, Hawthorne Heights), however, this does NOT take away from the general Hopesfall flare. Subtracting the screams, Hopesfall make it evidently clear that their vocalist, Jay Forrest, has talent. Also, by doing this, it made the album seem to have a lot more raw emotion and more personalized (minus the next point). After noting this first point, I started to hear a familiar sound in this album, which I could not see at first. Then it struck me. It seemed that Thrice had influenced this album process, as it sounds somewhat similar to The Artist In The Ambulance here and there. One of the negative things I found about this album is that two of the songs ("Breathe From Coma" and "Champion Beyond Blessing") sound somewhat exactly the same, mainly because both songs expose the same guitar riff in the chorus, which is not very hard to miss (both good songs in their respects). A friend of mine had stated that this might have been done on purpose and were meant to coincide. But hey, who knows? All in all, this album is mind blowing, and is a definite must have. A-Types is definitely one of Trustkills best releases of 2004.

When the Satellite Years first came out, it stood as one of the most creative albums that hardcore had seen in quite some time. With A-Types the band had the task of not only bringing out an album of high caliber, but also giving us a sequel to The Satellite Years. I was almost nervous to hit the play button, but once the music started i could not even believe how far the has come in only two years. If the Satellite Years blew you away, prepare yourself, because this album is a monster. Now I suppose monster might be a bit misleading. If it has you thinking that this is a heavier album, you would be wrong. This is actually quite a bit more mellow then the Satellite Years. Gone are all types of breakdowns, and the screaming is definately kept to a minimum. A-Types is a much more rock oriented album. The spacey and atmospheric riffing is still in place, but it is a bit more straight forawrd and much more vocal oriented then the band was in the past. The song structures are efinately stil in line with the Satellite Years. The songs are catchy, yet they are not catchy because of big choruses. They have hooks in the guitar, and hooks in the vocal lines, but there are not too many radio friendly choruses. The production on the Satellite Years most certainly had its charm, but this is a much more powerful sounding album. The guitar tone is suitably laid back in the mix, and for this bands style, I would not expect anything else. If the guitar was right in your face and completely distorted, subtleties in the music would be lost. It's the little quirks that make this album memorable. You need for every last detail to be heard, and the production does not disappoint. One factor that does not seem to be discussed much in this genre is flow. This album is one of the most smoothly flowing albums that I have ever heard. It is over forty minutes long, but it goes very quickly. They do not waste any time and even the more spacious moments never drag on longer then they should. This album is perfectly paced and the song order just works. Hopesfall are a band that certainly stand out. They are not about bashing peoples senses, or shocking you with skulls and blood. They play emotive music that is both soothing and attention grasping. This album demands one hundred percent attention, and after the first note your ears will be glued til the very end.

A Types isn't nearly as heavy as Hopsefall's Trustkill debut, The Satellite Years. It's not an "emo" record, either. Rather, this North Carolina quintet fearlessly straddles the line between indie rock and moody hardcore, and does so without a net, bringing it on strong with "Start And Pause" and "Icarus." While the adroit A Types has more in common with the Used than it does Slayer, it's still worth Loud Rock radio's attention for its atmosphere and variety.

Hopesfall's sound is a crisp, sleek example of the kind of thing going on in the post-hardcore world. Highly polished melodies, heartfelt but anything but weak, take power from the well-executed instrumentals and strong vocal approach. Points of strong emphasis are made by surges into melodic hardcore as the band still holds to elements of this musical arena's roots. The music is heavy but never loses sight of song skill; in fact, the melody isn't lost even when the passion peaks and the lead singer slides into aching screams. "A Types" is a solid entry in the post-hardcore genre.