Light in the Attic Records
An independent Seattle-founded record label, reissue specialist, distributor, and music-licensing company.
Last updated November 4, 2026
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Overview
Light in the Attic Records is an independent music company founded in Seattle, Washington, in 2001 by Matt Sullivan. It operates across several connected areas of the recorded-music business: archival reissues, new releases, physical-media distribution, soundtrack publishing and synchronization licensing, film-related projects, and the development of specialist imprints. The company is especially recognized for bringing overlooked, out-of-print, or historically under-documented recordings to new audiences through carefully researched editions, restored master tapes, archival artwork, contextual liner notes, and premium vinyl and compact-disc formats. The label’s origins grew out of Sullivan’s experience in the Seattle music community and in the reissue business. Sullivan and Josh Wright had known each other since childhood and had operated a small school radio station together. During the 1990s, Sullivan interned at Seattle labels including Sub Pop and Loosegroove Records, and later worked with Madrid-based Munster Records, whose catalog-centered approach helped shape his interest in historical recordings. After losing his job at RealNetworks, Sullivan used severance money to finance Light in the Attic’s first project, a collaboration with Munster subsidiary Vampi Soul to reissue the first two albums by the politically charged spoken-word group the Last Poets. The company initially built its reputation through ambitious but focused reissues spanning soul, funk, folk, rock, country, jazz, ambient, experimental music, reggae, hip-hop, and international recordings. Its catalog has included work by Rodriguez, Betty Davis, Karen Dalton, Jim Sullivan, Donnie and Joe Emerson, Serge Gainsbourg, Lee Hazlewood, Nancy Sinatra, Sly Stone, Lou Reed, Hiroshi Yoshimura, Haruomi Hosono, and many others. It has also issued contemporary music, including releases by the Black Angels and Nicole Willis & the Soul Investigators. Compilations such as Wheedle's Groove, Native North America, Kankyō Ongaku, Pacific Breeze, and Jamaica to Toronto have positioned the label as a curator of regional scenes and overlooked musical movements rather than simply a catalog administrator. Rodriguez became a major turning point. Light in the Attic’s reissues of his albums gained renewed international attention after the 2012 documentary Searching for Sugar Man told the story of the Detroit singer-songwriter’s unexpected South African following. The film’s success, including its Academy Award for Best Documentary Feature, introduced a broad audience to both Rodriguez and the label’s archival work. Similar projects involving Karen Dalton and Donnie and Joe Emerson later expanded the company’s role into documentary production and artist-storytelling. Light in the Attic also operates a distribution network serving more than 100 independent labels. Its portfolio has included companies such as 180g, Enjoy the Ride, Everland Music, HMV, iam8bit, Mississippi, Mondo, Temporal Drift, and Waxwork. The network handles vinyl, CDs, cassettes, books, DVDs, video-game-related products, and other physical media for retailers in multiple markets. Its in-house synchronization operation licenses music from the company’s own catalog and from outside labels, artists, estates, and rights holders for advertising, film, television, trailers, and sampling. The brand has maintained a strong physical presence while adapting to changes in independent music retail. It originally operated in Seattle, including a Ballard-area store and a later location associated with the KEXP Gathering Space. Sullivan opened a Los Angeles office in 2010. In 2025, the distribution warehouse moved to Memphis, Tennessee, while Sullivan opened the Clay Pigeon in Austin, Texas, combining a Light in the Attic record shop with a vintage art gallery and event venue. Recognition from Discogs and the Libera Awards reflects the label’s standing within the independent music sector, while Grammy nominations for several archival releases underline its emphasis on scholarship, presentation, and historical preservation.
History
Matt Sullivan and Josh Wright met in elementary school in Bellevue, Washington, and later ran their high school’s low-power radio station, KASB. Sullivan’s professional interest in catalog music developed through internships at Seattle labels, including Sub Pop and Loosegroove Records, followed by an internship at Munster Records in Madrid. Munster’s work with historical punk, garage, and psychedelic catalogs exposed Sullivan to the possibilities of carefully researched reissue programs. In 2001, Sullivan began promoting Seattle concerts under the names Music Makers and Light in the Attic. The events featured artists including the Walkmen, Saul Williams, Interpol, Clinic, and Kid Koala. After being laid off from RealNetworks, Sullivan invested his severance pay in the company’s first release: a partnership with Vampi Soul, a Munster subsidiary, to reissue the Last Poets’ first two albums. This initial project established a model based on licensing, restoration, contextual packaging, and cooperation with specialist partners. During its early years, the company supported its catalog through direct contact with independent retailers. Sullivan and colleagues made extensive record-store and distribution trips across North America, delivering vinyl and CDs to shops themselves. Several of these journeys were documented in short videos that later appeared through Pitchfork, reinforcing the label’s image as a hands-on participant in independent music retail. The catalog expanded across soul, funk, folk, rock, country, jazz, ambient, reggae, hip-hop, experimental music, and international scenes. Wheedle's Groove documented Seattle soul and funk; reissues by Karen Dalton, Betty Davis, Rodriguez, Jim Sullivan, Serge Gainsbourg, and others brought neglected recordings back into circulation; and later compilations explored Indigenous North American music, Japanese ambient and environmental music, Japanese city pop, and the Jamaica-to-Toronto connection. The label’s work generally combines licensed source material with new mastering, archival research, essays, photographs, and historically informed design. The 2012–2013 success of Searching for Sugar Man was a critical commercial and cultural breakthrough. The documentary’s account of Rodriguez’s career created international demand for the artist’s recordings, including Light in the Attic’s reissues of Cold Fact and related catalog material. The episode demonstrated how archival releases could benefit from film, narrative, and contemporary discovery platforms without abandoning the label’s specialist approach. Light in the Attic subsequently broadened its activities. Cinewax, launched in 2010, concentrated on film soundtracks and related audiovisual material. Modern Classic Recordings, established in 2011, focused on later twentieth-century albums by artists such as Mercury Rev, Morphine, D’Angelo, the Stone Roses, Built to Spill, Willie Nelson, and Digable Planets. Future Days Recordings, launched in 2012, concentrated on reissues from the 1960s and 1970s, including works by Annette Peacock, Tim Buckley, James Luther Dickinson, Françoise Hardy, Thin Lizzy, and others. The company also entered documentary production and executive production. It was an executive producer of Karen Dalton: In My Own Time in 2020, and the story of Donnie and Joe Emerson, whose album Dreamin’ Wild had been reissued by the label, became the subject of the 2023 feature film Dreamin’ Wild. Its synchronization division licenses music for advertising, film, television, trailers, and sampling, extending the catalog’s reach beyond conventional record retail. Light in the Attic’s distribution arm now serves more than 100 independent labels worldwide and handles a broad range of physical products. The company has maintained links to Seattle while adding a Los Angeles office, moving its distribution warehouse to Memphis in 2025, and establishing the Clay Pigeon store, gallery, and event space in Austin. Awards from A2IM’s Libera Awards, Discogs recognition, and Grammy nominations for multiple releases and contributors have affirmed its role as one of the better-known archival and reissue specialists in independent music.
- 2025
Distribution operations move to Memphis
[1]The company relocated its distribution warehouse to Memphis and expanded its physical retail and events presence through the Clay Pigeon in Austin.
- 2024
Discogs Indie Label of the Year
[1]Discogs recognized Light in the Attic as its Indie Label of the Year.
- 2022
Lou Reed Archive collaboration
[1]The company worked with Laurie Anderson and the Lou Reed Archive on archival releases including Words & Music, May 1965.
- 2020
Nancy Sinatra archival collaboration begins
[1]The label worked with Nancy Sinatra on reissues and compilations covering her 1960s and 1970s recordings.
- 2020
Karen Dalton documentary project
[1]Light in the Attic served as an executive producer of Karen Dalton: In My Own Time.
- 2014
Native North America receives a Grammy nomination
[1]The archival compilation was nominated for Best Historical Album.
- 2012
Future Days Recordings launches
[1]The imprint was created to focus primarily on 1960s and 1970s recordings.
- 2012
Searching for Sugar Man increases international visibility
[1]The Rodriguez documentary helped expose Light in the Attic’s reissues to a broad international audience.
- 2011
Modern Classic Recordings is established
[1]The imprint began reissuing later-period albums, starting with Mercury Rev’s Deserter’s Songs.
- 2010
Cinewax imprint launches
[1]The company introduced Cinewax for vintage and contemporary film soundtracks and related audiovisual releases.
Products and positioning
A research-driven independent label that combines archival music preservation, premium physical releases, specialist distribution, and synchronization licensing. Its identity centers on rediscovering overlooked artists, documenting regional and genre histories, and presenting historically important recordings in authoritative editions.
Record reissues · 2001
Archival reissues
The label’s core offering consists of reissued albums and singles by historically important or under-recognized artists. Projects commonly involve source-tape research, remastering, restored artwork, new liner notes, archival photography, and deluxe physical editions. Representative artists include Rodriguez, Karen Dalton, Betty Davis, Jim Sullivan, Serge Gainsbourg, Lee Hazlewood, Nancy Sinatra, and Lou Reed.
Compilation series · 2004
Wheedle's Groove
Wheedle's Groove is a Seattle-focused compilation project documenting local soul, funk, and related recordings. It helped establish Light in the Attic’s practice of reconstructing regional music histories and presenting them to audiences beyond the original market.
Archival compilation · 2014
Native North America, Vol. 1
This compilation surveys recordings by Indigenous artists from Canada and the United States. Its historical scope and documentation earned a Grammy nomination for Best Historical Album and exemplify the label’s interest in preserving music that has often been omitted from mainstream narratives.
Japanese music compilation series
Pacific Breeze
The Pacific Breeze series explores Japanese city pop and adjacent popular-music traditions. It forms part of a wider Japan-related program that also includes releases by Hiroshi Yoshimura, Haruomi Hosono, and Sachiko Kanenobu.
Soundtrack imprint · 2010
Cinewax
Cinewax specializes in vintage and contemporary film soundtracks, scores, and related audiovisual products. Its catalog has included material associated with Winter’s Bone, Project Nim, Blaze, Shogun Assassin, Chinatown, Low Down, American Dreamer, and Jodorowsky’s Dune.
Reissue imprint · 2011
Modern Classic Recordings
Modern Classic Recordings focuses on significant later-twentieth-century albums. Its releases have included titles by Mercury Rev, Morphine, D’Angelo, the Stone Roses, Built to Spill, Willie Nelson, and Digable Planets.
Reissue imprint · 2012
Future Days Recordings
Future Days Recordings concentrates on recordings from the 1960s and 1970s, including archival and reissue projects involving Annette Peacock, Tim Buckley, James Luther Dickinson, Françoise Hardy, Thin Lizzy, Link Wray, and Terry Reid.
Music distribution
Distribution services
Light in the Attic distributes physical music and related media for more than 100 independent labels. The service covers vinyl, CDs, cassettes, books, DVDs, video-game products, and other specialist merchandise for retailers internationally.
Music rights licensing
Synchronization licensing
The company’s sync department represents its own catalog and selected outside catalogs, artists, estates, and labels. It licenses music for advertising, film, television, trailers, and sampling, with placements associated with major brands, broadcasters, streaming services, and production companies.
Marketing campaigns
- 2024Even the Forest Hums
Ukraine · Europe · International
Light in the Attic partnered with Ukrainian label Shukai on a compilation of Ukrainian recordings made between 1971 and 1996.
Outcome. The release presented a broad range of Ukrainian sonic and cultural histories to an international audience.
- 2022Lou Reed Archive program
United States · International
The company worked with Laurie Anderson and the Lou Reed Archive on historical recordings and related releases.
Outcome. The project produced new archival editions, including the Grammy-nominated Words & Music, May 1965.
- 2020Nancy Sinatra archival series
United States · International
Light in the Attic collaborated with Nancy Sinatra on a broad reissue and compilation program covering albums, singles, demos, and rarities.
Outcome. The campaign expanded access to Sinatra’s catalog through newly packaged physical editions.
- 2012Searching for Sugar Man catalog campaign
United States · International
The label supported renewed interest in Rodriguez through soundtrack and catalog releases connected with the documentary Searching for Sugar Man.
Outcome. The film’s international success and Academy Award brought substantial new attention to Rodriguez and Light in the Attic’s reissue program.
Brand decisions
2025
Relocate distribution infrastructure and expand retail presenceStrategyBackground
The company continued investing in physical distribution while developing direct cultural and retail venues.
Action taken
Light in the Attic moved its distribution warehouse to Memphis and opened the Clay Pigeon in Austin as a record store, gallery, and event space.
Aftermath
The move strengthened the company’s physical-media logistics and public-facing presence.
2012
Launch Future Days RecordingsStrategyBackground
Light in the Attic identified a need for a dedicated home for 1960s and 1970s archival projects.
Action taken
The company introduced Future Days Recordings as a specialist reissue imprint.
Aftermath
The imprint enabled further work with historically significant artists and recordings from the period.
2011
Create Modern Classic RecordingsStrategyBackground
The label sought to cover important later-period albums that fell outside its primary vintage-reissue focus.
Action taken
Modern Classic Recordings was established for reissues of notable late-twentieth-century releases.
Aftermath
The imprint broadened the catalog to include alternative rock, soul, hip-hop, and other modern classics.
2010
Launch the Cinewax soundtrack imprintStrategyBackground
Film music represented a natural extension of the company’s catalog and licensing expertise.
Action taken
Light in the Attic created Cinewax to release vintage and contemporary soundtracks and related audiovisual products.
Aftermath
The company expanded from recorded-music reissues into a more integrated film and soundtrack business.
2001
Adopt an archival-reissue business modelStrategyBackground
Matt Sullivan’s experience with specialist labels and historical catalogs led him to create a company centered on overlooked and out-of-print recordings.
Action taken
The company launched with a Last Poets reissue made in partnership with Vampi Soul.
Aftermath
Archival research and premium reissues became the foundation of the Light in the Attic brand.
Sources1 sources
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