Sessions for the next album took place at a variety of studios with Jason Cupp, Ben Moore and the band producing the proceedings.

Say Hello to Sunshine saw the band expanding their post-hardcore sound with different time signatures, heavier guitar riffs and breakdowns.

"[5] Between June and July 2003, the band commenced pre-production on their second album, which was expected to be recorded in August with producer Mark Trombino, in line with an early 2004 release.

[7] In August and September 2003, the group took a break from writing to play a handful of shows;[8] the band were again expected to start recording in October.

"[11] On January 10, 2004, drummer Alex Pappas left the group and was temporarily replaced by Marc Allen of Counterfit.

[12] Strohmeyer said Pappas was holding the band back, and they had spent six months trying to get him to work with the new style of songs they had written.

[17] In between recording, the group went on tour in August and September with Recover and Counterfit,[18] and performed at the Strhessfest and Holiday Havoc festivals.

[26] Discussing the album's title, Barcalow explained it was satire, before adding that they "hope this record is going to rip your face off.

[17] Metal riffs feature frequently during the verse sections of "Insomniatic Meat"; Barcalow showcases his refined vocal ability in both the singing and screaming, with the latter developing from guttural growling to high-pitched wailing.

[24] Moore played piano on "Bitemarks and Bloodstains",[17] which was the first track written for the record, bridging the group's sound between What It Is to Burn and Say Hello to Sunshine.

[21] "The Casket of Roderick Usher" was reminiscent of "Project Mayhem" from What It Is to Burn with its frantic energy, touching on grindcore,[24] and drawing comparison to the Dillinger Escape Plan.

[30] The closing track "Dreams of Psilocybin" starts with loud noises and screaming sounds before the song kicks in.

[37] In early May, the group appeared at Give it a Name festival[38] and performed a few European shows[39] with Motion City Soundtrack.

[26] From mid-May to early June, the group went on a headlining US tour with support from Vendetta Red, Walking Concert and Reeve Oliver.

[48] Following this, Finch appeared at the Summer Sonic Festival in Japan, before performing in the US with Rx Bandits[47] and A Static Lullaby until early September.

"[22] Chart Attack reviewer Shezhaad Jiwani said that instead of re-treading old ground, the band made a "bold step forward" with the release, without "sacrificing their signature intensity.

"[57] Sputnikmusic staff member Ryan Flatley found the record a "tumultuous journey filled with twists and turns for some, while [to] others it was an embrace on what they gave to our ears as listeners.

"[23] AbsolutePunk staff member Scott Weber expected to dislike the album, but said that he was "flat out wrong" and found it a "very solid, creative record that will silence a lot of critics, but also turn away some old fans.

"[24] While noting that it was more "technical and innovative" than their past material, he felt that the album had "a bad tendency to fall into old habits at times.

"[24] Ox-Fanzine reviewer Christian Meiners said that the release lacked "stadium rock character" in its alternative feel,[58] and stated that he was "frightened by the extent of my dislike" for the album.

"[29] Chicago Tribune's Blair R. Fischer heavily criticised the album, saying that it "sounds like Finch just got its mitts on a bunch of Incubus B-sides and decided to ruin every one.