Born out of the DIY ethos fostered by the likes of Mike Park and Ian MacKaye, Sell The Heart Records celebrates their 15th anniversary this year. Formed by Andy Pohl, the label has a simple mission: Support, release, and distribute amazing music, while actually paying for the band’s work. It’s a noble and worthwhile pursuit, especially in a streaming-dominated world. Pohl must be doing something right, because Sell The Heart Records doesn’t show any signs of slowing down.
To help document this achievement, Andy talked about his experiences these past 15 years and shared advice for the future generations of DIY label heads.
2025 marks 15 years of Sell The Heart Records. That is a milestone anniversary. What does it mean to you when you think about what you’ve accomplished?
Yeah, it’s pretty wild to think that the label has been around that long. I honestly had no idea that it would still be going by now given how things all started off. Really, the main thing I think about is how humbled I am that there have been enough bands and supporters of the label to keep it going this long. It’s a pretty awesome feeling to know that it’s connected with people on some level.
What was the inspiration for starting the label?
It started off with a few friends of mine and myself in the Santa Rosa, CA music scene. We all had noticed that there was really no one doing any kind of local record label. We had all been inspired by the DIY ethics of labels like Dischord Records and Asian Man Records. At the time, there was a really robust music scene happening there, and we wanted to be a part of documenting it. So, we put together a bunch of brainstorming meetings to go over what it was that we wanted to do and how we’d do it. Eventually, we were able to piece together some basic plans for our first release, and from there things kept moving forward.
Is there anything you know now about the ins and outs of running a DIY label that you wish Andy of 15 years ago knew?
Oh Lord. [Laughs]. SO MUCH! The main thing I would want Andy of 15 years ago to know is that it is absolutely OK to say “NO.” I’m a bit of a helper by nature, and I’ve found myself piling more on my plate than I really should more times than I’d like to admit. Additionally, I would want him to know that he should not feel intimidated reaching out to “bigger” bands or labels to either partner up with or potentially work with on a record. Shooting the moon is fun and isn’t nearly as impossible as it seems sometimes.
Looking back at the label’s history, what’s the coolest thing you’ve been able to work on?
Hmmm… That’s a tough one. I’m going to cheat a little and say that it’s a four-way tie between the four tribute albums that we’ve been a part of. The first was a tribute album to Fugazi, one of my favorite bands of all time. We donated the proceeds to some local non-profits, and it was such a fun project. The Rancid, Jawbreaker, and Operation Ivy tribute albums have all been really fun to work on, and all four of them have been some of our most popular releases. I love compilations because it’s a great way to showcase lots of bands.
I’m also really happy to have been a label that has showcased a lot of artists that feature women in them. The boys club that was the ’90s – ’00s punk scene was, in retrospect, really quite a bummer in that regard. There were so many great bands that featured women, but they were oftentimes overlooked.
Are there any bands or solo artists that you’d love to eventually work with, either on a comp or with a full release?
You know… There are a few bands whose albums never got a vinyl release that I’ve been really wanting to work with, maybe doing a limited pressing. For example, the band Brazil, and their album A Hostage and the Meaning Of Life. It’s such an awesome album, and as far as I know it’s only available on streaming or CD. There’s also this amazing hip-hop/jazz/big band group that used to be around in Northern California called Cannonball that I have been wanting to ask about reissuing their albums on vinyl.
But as far as artists to release new music with, there are definitely lots of bands that I’d of course love to work with. I’m not really sure why any of them would choose to leave their current situation to work with me and my VERY small label. [Laughs.]
I guess if I had to pick one, I’d say The Dreaded Laramie. We helped them put out a 3-song EP, and it was fantastic! We discussed the possibility of working together on a full-length, but they ended up going over to Smartpunk Records for that, which was honestly the right call. I’m really happy for them, and I would definitely be more than happy to work with them again if given the chance
What are some of the common misconceptions people have when you tell them that you run a record label?
That I make money doing it. [Laughs.] That’s probably the main one. Beyond that, I have to usually explain just how small of scale it is. Folks that aren’t involved in the music business have this idea of record labels like they are this big thing like Warner Bros or Capitol Records. So, I have to bring them down to Earth a bit.
Aside from the label, you’re also a member of Tsunami Bomb. What have experienced as a member of a touring punk band that has influenced how you run your label or how you support the artists on the label?
Being in Tsunami Bomb has affected my experience with Sell The Heart because it opened up doors and created connections with other bands, organizers, promoters, labels, and such. In turn, I can leverage those connections to help our bands.
For the uninitiated, what types of bands fill out your label’s roster?
We have a fairly diverse lineup. We have a bunch of bands that you could probably classify as “punk” (Failing Up or Jukebox Romantics). But if you’re getting really specific, it would include bands within the “post-hardcore” (Hotlung or RITES), “melodic skate-punk” (Rad Owl or System Restore), “Org-core” (Neckscars or Build Us Airplanes), “Power Pop” (The Dreaded Laramie), “Ska-punk” (Bumsy and the Moochers or Omnigone), “Emo” (Goddamnit or Unseemlier) and “Queercore” (Middle-Aged Queers) genres. We also have bands that would fit closer to the greater “indie-rock” umbrella (Raised On TV or The Darien Gap) , as well as a few bands that are more aligned with the “post-punk” (Hauntu or Datura), “post-rock” (RLND or SNIPERS!!) and “darkwave” / “goth” (Holy Water) genres. Additionally, we’ve had a few that fall more into a singer-songwriter category (Sammy Kay or Gab De La Vega).
If someone was interested in working with you, how would they reach out?
The best way to contact me is through the contact page on our website connected to our Big Cartel store. I also respond pretty quickly to messages on Instagram or our general email address. I also get bands on my roster telling me about bands to check out.
With streaming dominating the music industry, what creative moves have made to compete?
Well, the main thing I am doing is constantly trying to educate and advocate for the purchase of music. This could be digital downloads, physical albums, or even other types of merch. Through my social media posts, I remind folks about the actual impact of their purchase vs just streaming the music. The bottom line? Streaming does not cut it for the vast majority of musicians trying to see any kind of monetary return on their investment.
People need to get the information in an easily digestible way. I show them that a $5.00 purchase of a digital album that they may or may not ever use is the same as streaming a song from an artist thousands of times. I’m slowly chipping away at the mental block most folks have on how this system works.
Besides that, I just try to keep my pricing fair. I usually offer some good bundle packages, the occasional discount code or BOGO deal, and will put older albums on clearance when it’s appropriate. It’s my job to get the albums into people’s hands and onto their turntables. So, I’ll use as many tools as I have to do it.
What does the rest of 2025 look like for Sell The Heart? Any spoilers on some of the projects that haven’t been announced yet?
There are a few more albums set for release later this year. A few are pretty interesting, and I think folks will be pretty stoked on. One of them is essentially a multi-band split featuring six bands. There’s a very personal project that I’m working on that I hope people will like involving one of my old bands. There’s also a very cool event that I’m working on that I don’t want to give up the ghost on, but it’s going to be pretty rad!
What about Tsunami Bomb? Any new music on the horizon for the band?
Yes! We have some new music coming out this year. We have been working on material for a new full-length album for some time now. Our schedules just haven’t really allowed us to get enough time to get all of us together to finish it. But we did manage to get some new songs together that will be released this year.
One of them has already been released. The song “Star Power” and its music video was part of a thing we did with a non-profit organization called Sing Me A Story. We took a story that a child had written and turned it into a song. Initially, it was only available through their channels as a way to raise money for their organization. A music video followed shortly, and it will be one of the new songs we release to the public later this year.
Say someone reading this has been thinking about starting a label. What’s your biggest piece of advice? What about something they need to make sure they don’t do?
Don’t! That was the advice that was given to me, so I am required by law to pass that down to anyone else. [Laughs]
In all seriousness, I would say that, before you actually do anything to get a label going, I would take a very hard personal inventory. Make sure that you are passionate about helping other musicians succeed. You must want to turn their ideas into albums and get them into the hands of listeners. It is oftentimes a very thankless job, and for most it is definitely not one that pays well. It is long hours and a lot of energy that you have to put into it, and there are constantly things changing on you. But, as long as you’re passionate about it, you’ll be fine.
Any last words?
First off, I’d like to thank you and Bearded Gentleman for being supporters of the label, and thanks for letting me do this interview! And I want to thank every single person that has ever taken the time to listen to our artists, purchase their albums, buy our merch or attend our shows. It really means the world to me. It’s been a really cool journey, and I’ve learned a lot over the last 15 years.
I want to encourage people to always search for new music yourself. Do NOT let an algorithm do it for you. I guarantee you that you’ll be happier by finding it through your own efforts. And if you aren’t paying for your music, get on that. Streaming is fine for discovery, but if you like the artist and their songs, pay them for their efforts. Bandcamp is a good place to start. Give yourself a budget that works for you and spend that money on some new music every month, be it $5.00 or $100.00.