Label: MNRK Heavy 

Band Members: Mike Schleibaum, guitar; John Henry, vocals; Aaron Deal, bass; Travis Orbin, drums; Nico Santora, guitar 

Management: Mike Schleibaum and Tito Picon 

Booking: U.S.A.: Jonathan Willson - Sound Talent Group, EU/U.K.: Marco Wazel - Avocado Booking 

Legal: Beverly Davis 

Publicity: Atom Splitter PR 

Web: darkesthour.ffm.to/perpetualterminal 

A&R: Carl Severson and Steve Seabury 

“We have a Patreon. We have a fan base. We have two and a half decades worth of music. We don't need to be on a label!” Meet Mike Schleibaum of D.C.’s Darkest Hour, a metal outfit with 25 years of history that includes over 10 record deals over nine full-length releases. On February 23, they will be releasing their 10th full-length. And until recently, they were adamant that they were done with record labels. After all, they’d already wrapped in the studio; possess their own global booking agents; and have self-managed themselves for years. 

Somewhere between the band’s 2017 independent release and now, however, DH realized all that time receiving orders, shipping albums, chasing royalties etc., was time taken away from what the band loved to do most—play. So after a bit of a post mortem, Darkest Hour began wondering if a label could help. Coincidentally, this is also when MNRK Heavy joined the chat. 

“There was a longtime friend at MNRK Heavy who contacted us and was like, ‘Hey, you guys are killing it… but how are you going to do this upcoming release?’” explains Schleibaum. MNRK Heavy is a subsidiary of MNRK, formerly known as eOne, who released Darkest Hour’s The Human Romance in 2011. What caught Darkest Hour’s eye was the label’s focus on up-and-coming artists, not just known acts. However, Darkest Hour have the battle scars to know what labels want in return, and the band wasn’t going to budge on royalties. 

Much to Schleibaum’s surprise, the label pitched making its money in places the band wasn’t already. “I can't say that it's as simple as they gave us all the digital money and all the publishing and blah, blah, blah— but they gave us everything we wanted and what no [other] label would give us: a deal that ends, but in good faith.” Basically, the band and label will check in after each release and see if the partnership is still fruitful. No “three-to-five release minimums.” 

When asked to share some knowledge on surviving the ups and downs of the industry, Schleibaum had this to say: “Practice. Do things slowly. Like, if you're gonna practice a set, practice the song slower than you normally plan to get everybody's group muscle memory together. Practice at home, the stuff that's really hard, slower. And if there's nothing that's hard, either you don't know how to practice, you're not listening, or you guys are not trying hard enough. You have to be as hungry to learn about practice as you are learning about success.” 

Producer: Randy LeBoeuf

Portland’s Dying Wish get heavier—while also more vulnerable—with their second full-length. At times there’s an intentionality behind multiple rhythm guitars competing for your headbanging attention (“Symptoms of Survival”), while other tracks slip into the metal-core melodies we’re accustomed to. My only complaint is the track order: most of the catchiest bangers on the album are placed on the back half. Either way, these new songs are going to punch you square in the teeth before inviting you to two-step. 

A Day To Remember - For Those Who Have Heart

While this isn’t the album they’ll be performing at next year’s When We Were Young fest, diehard fans often agree this is one of ADTR’s purest releases. And this 20-year repress, released Oct. 6th of this year, features a re-mix by Adam D (All That Remains, Underoath, Shadows Fall). I’ll admit, I’m not as intimately familiar with the original mix beyond my Spotify plays, but I did notice some good stereo imaging on this version along with some punchier percussion. Whatever the differences may be, this is sure to be a fun gift for ADTR purists to spin and/or frame! While my copy pictured is more of a caramel color, you can order a yellow swirl exclusive via Craft here. Wait, is mine the Craft exclusive? Guess you’ll have to buy a copy yourself and feel the wrath of vinyl pre-render mystery loot boxing!

Punk Goes Christmas - (45 RPM 2-LP set; Green Vinyl repress)

In honor of Record Store Day’s Black Friday sale on November 24th, Craft are releasing 7 re-presses, including a 10-year anniversary of Punk Goes Christmas. While I was pondering when I’ll be fortunate enough for Punk Goes Acoustic to celebrate 20 years with its first-ever pressing, I paused to realize this was probably the highest-quality print of the lot. Not a flashy vinyl itself, but at 45-rpm, the playback quality was a cut above. My only gripe is the missed opportunity for the second vinyl to be red. Green. Red. Missing this opportunity feels like Starbucks canceling Christmas all over again!!!! Either way, this press is limited to 4,500 units worldwide, so click here to see the other 6 RSD releases as well as how to find your local participating record store! 

The Maine - Can’t Stop Won’t Stop

This pressing marks the band’s 15th anniversary of Can’t Stop Won’t Stop and is set to release November 17th. I spun it twice and what can I say? The boy band with instruments sound pretty good on vinyl. The record itself was flat, it was black, I was a happy camper! … Don’t judge me. I like black wax, alright? For one, my dad doesn’t scoff when he visits. And two, it’s scientifically proven that while all these cool colors LOOK GREAT, they lower the audio fidelity! So no, I won’t apologize for being stoked I received the black pressing pictured below! Wait, I just googled it… apparently anything pressed this decade is all the same quality, irrespective of color. Well shit. While the Craft exclusive is already sold out, you can find pre-orders available at additional retailers here.

As mentioned above, Record Store Day’s annual Black Friday sale is Nov 24th. Find your participating store here and support the industry and small business! Double hat tip if you investigate which bands will actually see a kickback from their new pressings! 

To see previous vinyl reviews, visit https://www.musicconnection.com/?s=vinyl+review

Producer: Gunship

Synth-wave juggernauts Gunship are back with an album featuring composers John Carpenter and Tyler Bates and musicians Gavin Rossdale and sax slinger Tom Cappello. While “Monster In Paradise” is a face melter, it leans a little too tongue-in-cheek—with Blade-esque b-sides and a literal “money grabbing sequel” to their previous show-stopper, “Tech Noir.” … But just like T2 and Aliens, it’s still pretty dope. Much like ‘86’s Stallone classic Cobra, however, this album’s best material is in its first 20 minutes. – Andy Mesecher

Silverstein’s Sophomore LP is officially old enough to vape. So why not celebrate with a vinyl re-release? Everyone else seems to be waiting 20 years, but our Canadian post-hardcore stars say TO HELL WITH THAT, 18 YEARS IT IS!

As always, I won’t be providing a review of the music on this release (which is stellar btw), but instead the physical vinyl I received.

I’ve always respected Silverstein’s attention to sonic quality. When you see them live, the dudes are ALWAYS the tightest performers on the bill. It’s obvious they rehearse the hardest and invest in in-ear monitor technology to ensure the only sounds we hear are what we’re supposed to. So I was a bit surprised by the quality of this vinyl received. Like Shane says, “I wasn't asking for the world” … just a decent mix. There’s nothing terribly wrong with my black vinyl: it’s flat, it’s weighted well, but there’s just a lot of added noise/distortion throughout. It’s possible there isn’t much one can do for these 18-year-old albums that were recorded with iTunes and ear buds in mind, but I would have loved to have heard a re-mix / re-master to support this album’s beefy chugs. Ending Side A with “Discovering the Waterfront” instead of “Defend You” would have also leveled up this re-press tremendously. The title-track has a musical build-up reminiscent of classic rock ballads, where ‘70s-’80s producers would place such tracks at the end of each side. 

My cut sounds and plays like a $26 new release, but if you’ve been meaning to round out your Silverstein collection, this re-press is a good opportunity to do so. There are five unique variants up for pre-order at https://found.ee/silverstein-waterfront, including classic black vinyl, Brown (via Urban Outfitters), Green (via Revolver), Green/Brown marble (via Craft Recordings), and Blue marble (via the band’s official store). I’m not going to lie, that blue marble would really bring out my eyes.

For a review on… The record that came out… afterrrrr this one (Arrivals & Departures), but

they re-released… last year…. click here

While listening to the record, I was reading the liner notes and learned that Pierce The Veil’s Vic Fuentes helped write “See You On The Outside!” I knew August Burns Red’s Jake Luhrs was featured on “Carry On” as well as Stick To Your Guns’ Jesse Barnett on “Youngbloods,” but I wasn’t aware Fuentes played a role. Would have been fun to be a fly on that wall!

Speaking of liner notes, did I ever tell you about the time I was tasked with solving the “liner notes crisis of 2009?” Yup. For my final presentation to earn a useless music business degree, that was my prompt. You see, young bucks, 2009 was at the height of digital music. CDs were still selling, but iTunes was at its peak–this was before you could pay for streaming the music you want (I know, I’ll let that sink in). So what was my solution, you ask? Bring vinyl back to the masses and develop supported digital art! NO! NOT LIKE NFTs! EVERYONE HATES NFTs …. Different… but yeah, ew. Needless to say, the class grilled me hard about physical media being dead, though the professor, a wax collector himself, thought I was onto something. If only I invested in all these Fearless first pressings back then. Well not this one. Apparently this one goes for like $30 on Discogs, but you get the idea. 

Anyway, if you’re seeking a review of the songwriting, you’ll need to travel back to 2013 and snag an Alternative Press… or check out the album’s wiki. I’m only here to play gatekeeper of poor-quality pressings, and my black variant spins pretty damn smoothly! So I say buy away!

The band is also releasing additional variants through their own website, on tour, and via Revolver, Craft and Urban Outfitters which are set to ship August 18th.

When I was informed Slipknot’s 2009 Madison Square Garden performance would be released on vinyl and sent my way for review I thought “welp, I’ll say what I gotta say and then I swear I'll go away.” See what I did there? Your move, Corey Taylor.

Most of my vinyl reviews for MC focus on the pressing itself (the art, the playback quality, etc.), but not the written music or how it's mixed. However, since this is the first time these masters will hit maggot ears, I’ll sprinkle in some mixing critique too. And not just because Music Connection pays me per word.*

First and foremost, the cover art is frustratingly clever. It almost feels a bit like my eyes are being gaslit. “Is that blurry? It’s definitely blurry… no wait, maybe that’s just my camera lens. ::blows hot air on lens and wipes with favorite Slipknot shirt:: Nope. Definitely the album cover. Sick. Well played.”

This double-disc copy came in the standard black vinyl (which I prefer) and, to be honest, it’s cut quite nicely. Not only did the release team do a good job of deciding where to place each track, but because we’re graced with two vinyl, there’s plenty of blank space, alleviating my ears from any opportunity for poorly-cut groove distortion at the end of each side. 

The mix itself took me right back to seeing the band live in the early 2000s. Not too muddy and appropriately mixed crowd singalongs. Could have used more ping on that "Duality" beer keg tho. All I heard was China cymbal…. 

After each track my shorts grew longer into orange parachute pants. My throat closing as a ball-chain necklace choked tighter. My LA Looks hair gel dripping into my eyes as I sweat it out moshing in my “Don’t Ever Judge Me” tee. I guess what I’m trying to say is, this is a must-have for any big-time Slipknot fan looking to reminisce.

I was told this release is to celebrate 15 years of the band's fourth studio album, All Hope Is Gone. Neat-o! Pre-order your copy at Sliknot’s official store https://slipknot1.com, or pick it up anywhere vinyl are sold Aug 18th.

*Music Connection definitely doesn’t pay me per word. If they did, I’d copy and paste the album’s wikipedia notes so I could afford more frozen yogurt.

Producers: Vessel 1, Carl Bown

Sleep Token’s unique ability to combine pop-produced melodies sandwiching goblin screams is present once again, perhaps with fewer proggy drum/guitar moments than albums before. What do these Brits sound like? Imagine we’re in the year 2080, where terrestrial radio and payola are finally dead, allowing lengthy tracks possessing influence from genres once at odds—pop, metal, hip-hop, etc. My standouts include “The Summoning,” “Vore” and “Euclid” for their respective heavier moments. – Andy Mesecher

Label: 20 Buck Spin

Band Members: Al Nikolas, Garrett Alvarado, Mike Griggs, Robby Anderson, Anthony Lamb

Type of Music: Death Metal

Management: Big Johnson MGT LLC

Booking: maul701.bandcamp.com

Legal: Saul T. Knuhtz, Esq & Associates

Publicity: Earsplit PR

Web: instagram.com/mauldeath

A&R: David M. Adelson VIII

Cold weather breeds metal. Something about being snowed-in with nothing but your instrument and some Top Ramen to warm your darkened soul. Which is why so many great metal bands are from Swe… wait, North Dakota!!?

Maul aren’t the first metalheads to come out of Fargo (see Gorgatron, and Phobophilic), but they are doing their part to put its scene on the death metal map. Explains Maul frontman Garrett Alvarado, “There's punk, there's metal, there's thrash, death and black… there's a good noise scene in Fargo and it kind of all meshes together and everyone really gives a fuck, because that's all that’s really going on. It's awesome.” 

So how did these five midwesterners dig out of their local scene? So. Much. Touring! And on those tours, making connections. After dropping their debut EP with label Redefining Darkness, the band went gigging all over. “We did a few fests around the area, ‘Midwest Deathfest’ and ‘Slamdakota’ in Sioux Falls, SD,” says Alvarado. “And then our next tour was in December around another fest called ‘Banging In The Rock’ in Little Rock, AR. That’s when Dave [Adelson] from 20 Bucks hit our DMs.”

As mentioned, Maul had dropped their previous release through Redefining Darkness that same year, but as Alvardo explains, signing to 20 Buck Spin was a smooth transition thanks to a shared love for all things metal. “I had a video call with Thomas [Haywood at Redefining Darkness], and let him know. … He was stoked because [20 Buck Spin is] a label that represent underground death metal!” 

Grassroots marketing through Bandcamp, and giving a shit about other bands in the genre, seems to be the secret sauce for Maul. Redefining Darkness found the band because Mutilatred and Hanging Fortress, two bands already on its roster, were friends with Maul. “Go to the shows that you can and be really active online! I book all our tours and I’ve done it by people I've met at shows, or just DMing. I use Bandcamp and the city search and I message bands directly, asking ‘Do you have any promoters that you fuck with? Can you personally help us out?’ It's pretty genuine in that way. And then don't be afraid to get told no,” laughs Alvarado. “Cause [your messages] get left unread more often than not.” - Andy Mesecher

Label: Fantasy Records

Type of Music: Rock

Management: N/A

Booking: Matt Galle

Legal: Stacy Fass

Publicity: Atom Splitter PR, Amy Sciarretto & Tim Tatulli

Web: lsdunes.com - @lsdunes

A&R: Matt Marshall 

Meet L.S. Dunes, a band composed of members from My Chemical Romance, Coheed & Cambria, Thursday and Circa Survive. When you hear that pedigree, it’s not far fetched to assume they’d have the pick of the record label litter. Once the group of musicians had some songs arranged, they showed them to industry manager and close friend Paul Clegg. Encouraged by Clegg, the dudes continued passing the tracks around. “Soon everybody in my life whose opinion I cared about had heard it,” explains guitarist Frank Iero. Included in that list was My Chem attorney Stacy Fass.

“She started to play it for people and before we knew it, we had ears on the recordings who wanted to do something with us.” Fortunately for Dunes, that included friends at Fantasy Records / Concord Music Group. “Tom Whalley [CLO, Concord] used to be at Warner Brothers. He was a proponent of My Chem way back in the day—somebody we looked to for advice and for guidance. Tom liked the recording, as did [Fantasy Records President] Margie [Cheske] and [Concord SVP A&R] Matt [Marshall].” 

When preparing to sign on the dotted line, all members agreed that their primary stipulation was full creative control. “Every musician in this band has been around this block, “Confides Iero. “We've seen a lot of the pitfalls. So we wanted to go somewhere that loved the band for the band and not just the members involved.”

For up-and-coming labels and artists alike, Iero provided some insight on creating, and signing, successful art. “I think what bands have to understand is that there is a large cycle of fear involved in this. Music isn't selling the way it used to. So people are scared to take risks but don't always realize that the only time music is selling is when people are taking risks and doing something different. So you have this thing of, ‘I don't know if I wanna put money into something that isn't proven because music isn't selling’ and you're like, ‘well, music isn't selling because you're not taking a risk on something that isn't proven.’ … I think as an artist you have to know they’re as scared as you are. Sometimes the label's even more terrified than you (laughs).”

L.S. Dunes' debut record Past Lives is available now.