Independent labels rarely get to explain their side of the process. Most advice aimed at artists focuses on how to get noticed; far less is said about what a small label is actually weighing when a release underperforms or a demo lands in the inbox. For Venderbos Records, an independent label built around a distinctive sound, those questions are practical rather than theoretical.
In a written exchange, Sem answered three questions about releases that surprised him, the gaps in standard demo advice, and the one decision artists tend to make too fast.
When a release doesn't land as expected
Asked about a release that didn't connect the way it was intended, Sem pointed to a gap between the maker's instincts and the listener's response. He said "the tracks you personally believe in most are not always the ones that resonate most with an audience." A track can absorb considerable time and arrive with a very clear vision of how it should be received, only for the audience to respond differently.
The lesson, as he describes it, is that a release is more than the quality of the recording. "Timing, positioning, presentation and finding the right audience all play a role," he said. He also cautioned against reading too much into first-week figures: understanding who is listening, whether they come back to the music, and how they found it can be just as informative as the numbers themselves. The balance he describes is confidence in an artistic direction held alongside a willingness to learn from the people on the other end.
What demo advice leaves out
On the subject of demos, Sem's answer shifts attention away from the file and toward the introduction. "A demo is not just an opportunity to send over a good track. It is also your first introduction to the label," he said. The music has to be right, but context carries weight: who the artist is, where they are heading, whether they have a recognisable identity, and whether they understand where their music fits. A large following or an elaborate marketing plan isn't required — some sense of direction is.
He also singled out communication. A personalised message explaining why a particular label suits the music stands apart from the same generic email sent to fifty labels. "Especially with smaller independent labels, the relationship matters," he said. "We are not simply looking for individual tracks; we are interested in discovering artists whose vision and ambitions align with ours." For artists weighing how to approach a label, resources such as CD Baby's guide to submitting music and Bandcamp's artist resources cover the mechanics, but the relational point is the one Sem says is most often missed.
The one thing not to rush
His answer to the final question was direct: don't sign simply because someone has shown interest. Excitement is understandable, particularly early on, but "a record deal should be a partnership, not just a milestone to tick off your career checklist."
He encouraged artists to understand what a label actually offers, what it expects in return, and what happens to the music and rights under the agreement. Questions about distribution, promotion, royalties, ownership and release strategy are fair game — and "a label should be comfortable having those conversations." He also urged artists to look past a label's name or perceived reputation, noting that a smaller label with genuine enthusiasm, good communication and a clear plan can offer more value than a bigger name.
"At the end of the day, you are choosing someone to trust with a part of your creative identity," he said. "That decision deserves more than a quick yes."
For readers navigating their first or second release, the through-line is preparation: know your audience, introduce yourself as clearly as your music, and treat the contract as a working relationship rather than a finish line. Guidance on understanding recording contracts and on how independent labels operate can help frame those conversations before they begin.