The story of Light In The Attic Records begins, curiously enough, with a motor crash in Madrid, Spain (and a rather bad one at that). Light In The Attic Founder (most of us call him Matt) was but a teenager in the middle of one of those requisites of American post-high school life - the "find yourself" hostel-hop through Europe. The journey usually involves, at the very least, a Eurail pass, a backpack, and a pair of hiking boots. (For the record, Matt swears he has never owned a pair of hiking boots, but I digress.)
This particular sunny day in Madrid, however, was to have lifelong consequences for young Matt Sullivan. Aside from the site of the totaled Fiat (tin cans, they are), something of even greater interest immediately caught Matt's eye. The unlucky car he had just hit was filled to the brim with records - Stooges, Love, Suicide, MC5 - in other words, REALLY GOOD records. Matt introduced himself to his unwilling-yet-amiable "crash mate", I?igo Pastor, who just happened to own the stellar Spanish labels Vampi Soul and Munster Records. The shock of the accident suddenly took a proverbial back seat in the scheme of things as the two immediately began to talk music. Within an afternoon's time, a transatlantic bond based on the love of music was formed.
Matt immediately ditched his plans for the rest of his European sojourn and soon began camping out at the Vampi/Munster headquarters in Madrid. Though Matt and LITA co-founder Josh Wright's love of music began with high school radio, in Spai,n Matt was able to see firsthand the actual BUSINESS of putting out records. He soon discovered that the thrill of finding a long-lost gem and reissuing it to a grateful public was often tempered by the more loathsome side of the music business - endless unpaid orders, flaky artists, and threats of lawsuits from hustlers and frauds of all sorts. But Matt remained undeterred, and with guidance from his Spanish mentors, began making plans for a record label of his own.
Once back in the States, the Master Plan began at once. The idea was to build a label which placed as much emphasis on releasing quality reissues as it did developing new talent. In the late '90s, the dot-com boom provided much-needed funds for Light In The Attic's humble birth in a basement in Fremont, Seattle. Ironically, though, it was the dot-com bust that really got LITA going. Suddenly unemployed, Matt wasted none of his new-found free time. Instead, he began building LITA from scratch. His tools? A little savings and a lot of tenacity.
Light In The Attic first became a player in the Seattle music scene by producing live shows by rising artists like R?yksopp, Saul Williams, and Interpol. Many of LITA's shows were sold-out affairs, and the production side of the label's business quickly gained a reputation in the Emerald City.
But the plan was always to be a record label first, and a production company second. Armed with much-needed funds that the shows provided, the company began to focus on the business of making records. Eventually, a much-coveted reissue deal was signed with the highly underrated '60s soft-psych group The Free Design. With the LITA ball finally rolling, Matt soon called upon lifelong friend Josh Wright for help with the business. Josh provided the necessary energy and business know-how needed to transform Light In The Attic Records into the much-admired indie label it is today.
Since that first Free Design release, Light In The Attic has proven with just a handful of releases that its company mission is simple: put out great music, wherever it may be found, however it may sound. It's this dedication to music - first and foremost - that has already created a diverse and respected catalog of releases in a relatively short period of time. LITA's commitment to quality, as well as its disdain for convention, has already produced instant classics. Highlights include the critically acclaimed Wheedle's Groove compilation, an exuberant affirmation of Seattle's soul heritage; the reintroduction of Toronto's Wayne McGhie, a Jamaican-born singer-songwriter who effortlessly blends the sounds of reggae, soul, and R&B. LITA also specializes in brilliant reinterpretations of old classics featuring top artists such as The Super Furry Animals, Madlib, and Karen O of the Yeah Yeah Yeahs. And who can ignore the recent reissues of the complete Deep Throat Soundtrack Anthology? The music is surprisingly playful, a must-have for every music history buff. In addition, LITA now distributes Vampi Soul and Munster Records. The Spaniards still refuse to let Matt drive them anywhere - ever - but their business partnership remains as strong as ever.
Recent signings by Light In The Attic of up-and-coming bands like Young Circle only confirm LITA's dedication to its original mission. Whether releasing classic reissues or grooming young bands of the future, Light In The Attic continues to defy convention by refusing to pigeonhole itself. It's safe to say that you can expect more surprises - and more great music - in the very near future.
Every time that we listen or write music... play an instrument... dance... act in a play... or work in some audio/image/video engineering process... Something is healing inside...
When we share it with friends... Something is healing all over...
Wow - really excited about the "Melody Nelson" reissue on CD & vinyl - I'm buying both! You guys are the best. You replaced my Free Design catalog after Hurricane Katrina ruined my entire music collection. I'll never forget Josh and the generosity of LITA - not to mention your exquisite taste!
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