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Victory Records

Victory Records is an founded in by Tony Brummel in suburban , , specializing in , , , metal, and . The label quickly established itself as a key player in the scene, releasing influential albums by pioneering acts such as Earth Crisis, , and Snapcase in its early years, which helped shape the and genres. Since its founding, Victory has become home to a roster of notable artists including , , , , , Bayside, Silverstein, and , many of whom gained prominence during the early 2000s and explosion via platforms like and tours such as and . Victory's releases have sold over 15 million copies worldwide, including six RIAA gold-certified albums, and its catalog encompasses 4,500 master recordings. In 2019, the label was acquired by , with its catalog now managed under , ensuring continued distribution and legacy preservation for its extensive discography.

Company History

Founding and Early Development

Victory Records was founded in 1989 by Tony Brummel in Chicago, Illinois, emerging as a small independent label with an initial investment of less than $1,000. Brummel, then a 17-year-old enthusiast from the local DIY scene, started the label as a hobby rooted in his involvement with , including fronting a band and hosting shows at his family's home venue, Club Blitz, in suburban Westmont. The label quickly established itself as a key player in the underground and music scenes, prioritizing raw, unpolished sounds from emerging bands. From its inception, Victory Records focused on underground acts, releasing early works by influential hardcore bands such as Earth Crisis and Snapcase, which helped define the label's commitment to straight-edge and vegan-themed . Earth Crisis, in particular, became the label's first breakthrough act, issuing six albums between 1991 and 1997 that captured the intensity of the era's and metallic movements. This period emphasized a "culture without compromise" ethos, reflecting the DIY principles of authenticity and resistance against mainstream dilution in and communities. During the 1990s, Victory experienced initial growth through grassroots methods, including mail-order catalogs and local distribution networks centered in the Midwest scene. These approaches allowed the label to connect directly with fans and venues in and surrounding areas, building a dedicated following without relying on major industry support. A key milestone came in 1997 with the launch of Another Victory Publishing, a sister company designed to manage song copyrights and publishing rights alongside the label's record releases. This expansion supported the label's self-sustained model while fostering long-term control over its artists' creative output.

Expansion in the 2000s

During the early 2000s, Victory Records shifted its focus from its punk and hardcore roots to embrace the rising popularity of emo, metalcore, and pop-punk genres, signing influential acts that broadened its roster and commercial appeal. A pivotal moment came in 2001 with the signing of Thursday, whose album Full Collapse—released that April—blended post-hardcore intensity with melodic emo elements, helping to elevate the label's profile in the alternative scene. This expansion continued with the 2004 signing of Hawthorne Heights, a Dayton, Ohio-based band whose screamo-infused pop-punk sound fit the evolving emo wave, leading to their debut The Silence in Black and White later that year. These moves positioned Victory as a key player in the mid-2000s alternative rock surge, attracting bands that fused emotional lyrics with aggressive instrumentation. In April 2002, Victory announced a by selling a 25% non-controlling stake to , aiming to leverage major-label distribution for wider reach amid the growing demand for and releases. However, the deal collapsed later that due to shifting dynamics, including consolidation at (MCA's parent), allowing Victory to retain full independence. This brief flirtation with major-label involvement underscored the label's rising value, as it continued to build momentum through high-profile signings and releases. The decade marked significant commercial growth for Victory, with album sales reflecting the label's success in capturing the and zeitgeist. Taking Back Sunday's 2004 release Where You Want to Be achieved RIAA gold certification, selling over 500,000 copies and exemplifying the band's crossover appeal with hits like "A Decade Under the Influence." Similarly, Hawthorne Heights' The Silence in Black and White (2004) and If Only You Were Lonely (2006) both earned gold status, driving substantial revenue from the and markets. Silverstein's debut When Broken Is Easily Fixed (2003) also contributed to this upward trajectory as one of the label's best-selling early releases, blending breakdowns with introspection to resonate with fans. Overall, these efforts helped Victory amass millions in sales during the , solidifying its role in . Building on this 2000s momentum, Victory extended its brand into live events by sponsoring a dedicated stage at the Rockstar Energy Drink Mayhem Festival in 2014 and 2015, showcasing metalcore acts like Emmure and Whitechapel to large audiences. This high-visibility partnership highlighted the label's enduring influence in heavy music promotion, even as the decade's foundational successes continued to pay dividends.

Acquisition and Modern Era

In September 2019, acquired Victory Records for approximately $30 million, encompassing around 4,500 master recordings and 3,500 compositions from its , , and catalog. This deal also included the Victory brand and its iconic bulldog logo, integrating the label into 's broader portfolio of assets. Following the acquisition, Victory's operations shifted significantly, with its catalog transitioning to oversight by Craft Recordings—a Concord imprint specializing in archival and reissue projects—following the 2019 acquisition. Since then, the label has ceased signing new artists or producing original releases, instead functioning primarily as a legacy catalog manager focused on reissues, digital distribution, and licensing opportunities for its historical holdings. This includes maintaining access to commercially successful back catalog items, such as six gold-certified albums from artists like A Day to Remember, Hawthorne Heights, and Taking Back Sunday, alongside one platinum single. As of 2025, Craft continues to curate vinyl reissues and special editions from the Victory vault, emphasizing high-fidelity remasters for audiophile markets and event-exclusive releases like those for Record Store Day. The acquisition marked the end of Victory's era as an active independent label, underscored by founder Tony Brummel's departure and his subsequent launch of a new venture, Mission Two Entertainment, in April 2020. This independent outfit, along with its affiliated publishing arm Amuxe Publishing, represents Brummel's return to artist development in the and spaces, signaling Victory's pivot to archival stewardship under .

Business Operations

Another Victory Publishing

Another Victory Publishing, established in 1997 as Another Victory, Inc., serves as the sister publishing arm to Victory Records, primarily handling the administration of songwriting copyrights for artists associated with the label. The company manages a catalog of approximately 3,500 compositions from Victory-associated artists, facilitating global sub-publishing agreements to expand its reach and revenue collection. Notable deals include an administrative agreement with BMG Chrysalis for and a sub-publishing partnership with Mushroom Music Publishing for and . Its primary revenue streams derive from sync licensing for media placements, mechanical royalties for reproductions, and performance rights through organizations like ASCAP and , with documented disputes highlighting the significance of mechanical payments for thousands of streams. Following its acquisition by in 2019 alongside Victory Records, Another Victory's catalog is managed under Concord Music Publishing while maintaining operational continuity. In legal contexts, Another Victory has played a pivotal role in disputes over rights ownership; for instance, in the 2016 lawsuit with , a ruled that retained ownership of its music publishing, separate from the label's control over masters.

Distributed Labels

Victory Records has provided distribution services to independent labels since the early , offering support in manufacturing, marketing, and sales to help smaller operations reach wider audiences without requiring direct artist signings to Victory itself. This model allowed Victory to expand its influence across genres like metal, , and by partnering with specialized imprints. Among its distribution partnerships, Victory has handled releases for , a label focused on metal and rock artists, through an agreement initiated in 2006. It also distributed albums from , known for punk and emo acts, with the deal extended and expanded to include international markets like the U.K. and in 2007. Additionally, Red Cord Records, which specializes in , has relied on Victory for distribution. Historically, Victory distributed other labels including We Are Triumphant Records from 2012 to around 2019, focusing on and alternative acts through an exclusive worldwide agreement. I Scream Records, a imprint, partnered with Victory for worldwide distribution starting in 2013. Famined Records entered an exclusive deal in 2014 for its electronic music releases, while Wilhelm Records, an indie label, signed a worldwide music and merchandise distribution agreement in 2017. These partnerships significantly broadened Victory's genre exposure, particularly in metal, , and scenes, prior to its 2019 acquisition by , after which the label shifted focus to catalog management under . This approach enabled Victory to support diverse independent releases without expanding its own artist roster, contributing to its role as a key player in the independent rock ecosystem during the 2000s and .

Artist Roster

Current and Active Artists

As of 2025, Victory Records, now managed by under , maintains active catalog ties with approximately 5-10 artists, focusing on the preservation and promotion of back catalogs rather than new signings or original releases. This shift emphasizes reissues, , and licensing opportunities, ensuring ongoing relevance in streaming platforms and anniversary celebrations. Bayside remains one of the label's key active artists, with ongoing reissues sustaining their association; for instance, a limited repressing of their self-titled debut marked its 20th anniversary in 2025. The band's catalog has benefited from digital streaming boosts, contributing to their continued visibility through Victory-managed masters. Emmure maintains continuity via Victory's management, with the label promoting tracks like "Don't Be One" through official audio releases as recently as October 2025. Their back supports touring and streaming activity, including appearances on tours in early 2025. Close Your Eyes exemplifies positive long-term relations with the label, remaining listed among active s with oversight and no reported disputes. Their releases continue to be available for digital streaming and potential licensing, underscoring Victory's role in maintaining access to works from the . Other active catalog artists include Counterparts and , with recent promotions such as Atreyu's The Curse 20th vinyl edition in 2025. Overall, these associations highlight Victory's limited but strategic output, centered on editions throughout the —such as 20th vinyl pressings—and enhanced streaming metrics, including gold certifications for catalog tracks in 2025. No new original albums have been issued under the label in recent years, prioritizing master maintenance for sustained artist relevance.

Notable Former Artists

Victory Records' roster of former artists includes several influential acts that played pivotal roles in the label's rise during the early 2000s and punk scenes. , formed in 1997 in , achieved a major breakthrough with their 2001 album Full Collapse, released through Victory, which helped solidify the label's reputation for nurturing emerging talent. The album's success propelled to wider recognition, contributing to the label's growing prominence in the genre. Hawthorne Heights, hailing from Dayton, Ohio, further exemplified Victory's mid-2000s commercial peak with their 2004 debut The Silence in Black and White, which earned RIAA gold certification and featured the breakout single "Niki FM." Their follow-up, If Only You Were Lonely (2006), also achieved gold status, driving significant sales and helping Victory amass over 15 million total album units across its catalog during this era. Silverstein, a Canadian post-hardcore band, released four key albums on Victory—When Broken Is Easily Fixed (2003), Discovering the Waterfront (2005), Arrivals & Departures (2007), and Shipwreck in the Sand (2009)—each showcasing the band's evolving sound and contributing to the label's diverse output in the genre. A Day to Remember, blending and elements, delivered multiple chart-topping releases on Victory, including (2007), Homesick (2009), and (2010), with several earning RIAA gold certifications and fueling the label's sales surge in the late . , known for their ska-punk fusion, debuted with Everything Goes Numb (2003) on Victory and followed with albums like Somewhere in the Between (2007) and (2013), expanding the label's genre reach beyond hardcore into punk variations. Collectively, these artists released approximately 20 albums and EPs through Victory, spanning , , , and ska-punk, while driving the label's peak commercial performance in the mid- through high-profile tours and radio play. The label's total catalog exceeds 300 releases. Many of these acts departed Victory after fulfilling contracts, often seeking opportunities for creative expansion on larger platforms. transitioned to in 2003, Silverstein moved to in 2010 to pursue new production directions, and signed with post-2010, citing needs for broader artistic development. achieved independence following their 2013 release, allowing greater control over future projects. The legacy of Victory's former artists endures through thirteen RIAA gold and platinum certifications across the roster (including six gold albums, six gold singles, and one platinum single), including multiple golds for and , underscoring their role in elevating the label's cultural and commercial impact in and music.

Controversies and Criticisms

General Artist Relations

Victory Records has maintained a complex relationship with its artists, characterized by a mix of supportive promotion for emerging acts and recurring grievances over business practices. Bands such as have spoken positively about their experiences, stating in 2013 that the label never cheated or stole from them and crediting it for fair treatment during their tenure, which led to a renewal. Similarly, the label's aggressive marketing investments helped launch careers in the and scenes, providing high visibility through placements and major retail distribution that propelled acts like to sell over 1.2 million records. However, other artists have criticized Victory for inadequate promotion and rigid contractual terms; for instance, and alleged in the mid-2000s that the label owed them significant royalties exceeding $700,000 despite strong sales. Common challenges in artist relations included delays in royalty reporting and payments, as well as overly aggressive marketing tactics that sometimes alienated bands. Multiple acts, including , reported receiving no royalty checks despite multimillion-dollar sales, with funds allegedly diverted or withheld amid disputes. A notable example of contentious promotion occurred in 2002 when Victory produced and distributed " Whoopee Cushions" for the without the band's consent, contributing to broader frustrations over unauthorized use of their image and lack of creative input. Contract length disputes were prevalent in the , often stemming from lengthy multi-album deals that bands felt trapped them, leading to high-profile exits and legal battles over fulfillment obligations. Despite these strains, Victory earned a reputation for being instrumental in launching , , and careers during its rapid expansion in the and 2000s, fostering a devoted fanbase through its roster's output. The label's growth, however, exacerbated tensions, as scaling operations led to perceptions of an overly controlling where threats to withhold were used to enforce compliance. Some bands maintained long-term associations despite issues, such as Emmure's repeated renewals, highlighting the label's role in sustained visibility. Following Concord's 2019 acquisition, Victory shifted focus to catalog management under , emphasizing reissues and collaborations with alumni rather than new signings, which has alleviated pressures associated with active artist development and contributed to more stable relations.

Hawthorne Heights Dispute

In August 2006, the band filed a against Victory Records and its founder Tony Brummel in the U.S. District Court for the Northern District of , alleging fraudulent accounting practices, , , , and invasion of privacy, among other claims. The suit sought to terminate the band's and claimed that Victory had failed to properly account for and pay royalties owed to the band despite significant album sales, including over 1 million units of their debut The Silence in Black and White (2004) and follow-up If Only You Were Lonely (2006). accused the label of using unethical tactics, such as misleading promotional letters to the band's street team, which contributed to the decision to leave the label. Victory Records responded with a countersuit in September 2006, alleging that had breached their by attempting to exit prematurely and making defamatory statements that damaged the label's reputation. The legal battle escalated when Victory also sued and Music in November 2006, claiming with their by attempting to poach the band. On March 5, 2007, U.S. District Judge James B. Moran ruled in favor of on key points, determining that Victory did not hold exclusive rights to the band's recording services, allowing them to work with other labels while still obligated to deliver two more albums to Victory to fulfill their . This partial for the band was reaffirmed on May 17, 2007, when the judge denied Victory's request for an to enforce exclusivity, further enabling to pursue external opportunities amid the ongoing dispute. The litigation concluded on June 6, 2008, with an out-of-court settlement that both parties described as amicable, ending the two-year conflict without further details on financial terms disclosed. ' drummer Eron Bucciarelli-Tieger issued a public apology for the suit, expressing regret over the negative publicity it caused and Brummel, while Brummel emphasized moving forward positively. As part of the resolution, the band released their third album for , Fragile Future, in August 2008, before departing the label entirely. In the aftermath, refiled and pursued its interference suit against Virgin/ in January 2008, seeking $35 million in damages for allegedly inducing the band to breach their contract after had invested in their development to platinum status.

A Day to Remember Lawsuit

On May 31, 2011, filed a against Victory Records in the U.S. District Court for the Northern District of , alleging and seeking over $75,000 in unpaid royalties along with release from their recording agreement after delivering three albums. The suit claimed that the band had fulfilled its obligations under the 2006 five-album contract by releasing For Those Who Have Heart (2007), Homesick (2009), and (2010), entitling them to exit the deal and regain control of their publishing rights. The central dispute revolved around the contract's definition of "albums" delivered, with the band arguing that their three full-length releases satisfied the terms, while Victory Records contended that only two albums had been provided, thereby extending the band's obligations and retaining control over publishing and masters. This disagreement also encompassed royalty payments for digital sales and merchandise, mirroring broader patterns of withheld earnings reported by other Victory artists. After a two-week in November 2016, a ruled in favor of on three of four key issues on November 26, awarding the band $4.02 million in unpaid royalties from digital downloads and merchandise sales, affirming their fulfillment of the contract, and granting retention of publishing rights, though Victory retained ownership of the . The verdict freed the band from the label's constraints, allowing their subsequent move to for the release of in 2016 and underscoring Victory's reputation for stringent contract enforcement tactics in the independent .

Streetlight Manifesto Lawsuit

In October 2015, Victory Records filed a lawsuit against Streetlight Manifesto and its frontman Tomas Kalnoky in the U.S. District Court for the Northern District of Illinois, seeking over $1 million in damages for alleged breach of contract. The suit claimed the band violated a 2002 recording agreement by failing to deliver a required fourth studio album, causing production delays attributed to Kalnoky, and engaging in unauthorized activities such as performing and releasing music under solo pseudonyms like "Toh Kay." Specifically, Victory disputed whether prior releases like the 2006 re-recording of Keasbey Nights (originally Catch 22 material) and the 2010 covers collection 99 Songs of Revolution: Vol. 1 counted toward the contract's obligations, and accused the band of sabotaging sales by releasing an acoustic version of the 2013 album The Hands That Thieve independently while encouraging fan bootlegging. Streetlight Manifesto defended against the claims by arguing that the 2002 contract bound the band as an entity, not Kalnoky individually, and that his solo work under "Toh Kay"—including five albums from 2010 to 2014—did not constitute a since it was distinct from band activities. In a motion to dismiss filed in , Kalnoky contended that the agreement's language defined the "artist" as the group , and he had not refused or neglected to perform with the band, preventing Victory from invoking personal clauses. The band further asserted that self-releases under solo names were necessary to circumvent what they viewed as overly restrictive label terms that interfered with creative control and royalty payments, amid ongoing disputes dating back to 2002 where no royalties had been received in over two years. The litigation concluded amicably on April 19, 2017, when the parties reached a settlement resolving all claims without proceeding to trial. Under the terms, Victory agreed to sell the masters of Streetlight Manifesto's recordings back to the band for an undisclosed sum, granting them full independence after a 15-year relationship. This outcome allowed Streetlight Manifesto to operate as an artist-owned and artist-run entity, free from further label obligations. The dispute exemplified a broader pattern among ska-punk artists on Victory Records seeking to exit contracts amid battles over creative and delays, contributing to the label's for rigid artist agreements.

Other Specific Criticisms

In 2011, Victory Records signed the experimental band , whose debut single "Surrounded by Silence" quickly drew widespread backlash within the community for closely imitating the style of , leading to accusations that the band was essentially a rather than an original entity. The band themselves acknowledged the signing as a controversial move in interviews, and the ensuing hate contributed to their rapid dissolution; after releasing one album with the label, they were dropped by Victory in 2013 and announced their breakup shortly thereafter. Earlier, in 2001, Thursday voiced significant grievances against Victory Records shortly after the release of their breakthrough album Full Collapse, citing underpayment of royalties and dissatisfaction with the label's marketing tactics, including the production of gimmicky merchandise like whoopie cushions emblazoned with the album's artwork, which the band viewed as undermining their serious image. These issues prompted Thursday to renegotiate their contract and eventually depart for , highlighting early tensions in the label's artist relations. Additional isolated grievances emerged in later years without escalating to litigation. In the mid-2000s, audited Victory's books and discovered over $700,000 in unpaid royalties, settling for $100,000 after threatening legal action, a dispute that reflected broader concerns about inadequate financial transparency and promotion during the band's early career with the label. Similarly, publicly aired complaints in 2015 regarding exploitative contract terms that limited their creative control and financial returns, though the band continued releasing music with Victory amid these tensions. These cases illustrate a recurring pattern of criticisms tied to Victory Records' rapid expansion in the , when the label signed a surge of and acts following the success of albums like Thursday's Full Collapse—which sold over 300,000 copies—and invested heavily in marketing for bands such as and , overwhelming administrative resources and leading to widespread reports of discrepancies and mismanaged promotions.

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