Light in the Attic Records

Operational Model

Light in the Attic functions as a hybrid archival preservation company and distribution network rather than a traditional artist development label. The organization licenses historical recordings from estates and rights holders, producing premium reissue packages with restored audio, extensive liner notes, and tip-on jacket manufacturing. Founder Matt Sullivan’s approach emphasizes respectful collaboration with artists and families, paying advance royalties of 10-20% wholesale price for limited-term licensing agreements typically spanning 5-10 years. The business operates dual headquarters supporting distinct functions: Seattle handles curation and licensing, Los Angeles manages business development, Memphis provides warehousing for the distribution division serving 100+ independent labels globally, and Austin houses the Clay Pigeon retail/gallery space. Revenue composition splits between reissue operations and third-party distribution services, with direct-to-retail relationships bypassing traditional distributor networks to reach 150+ independent record stores across North America, Europe, Japan, and Australia.

Catalog Excellence

The reissue catalog spans 200+ releases across soul, funk, folk, Japanese ambient, country funk, and psychedelic genres, with notable projects including Rodriguez’s Cold Fact and Coming from Reality, Betty Davis’s complete discography, Hiroshi Yoshimura’s environmental music series, and Lee Hazlewood’s LHI archives. Grammy nominations recognize the label’s historical compilation work, including Best Historical Album and Best Soul/Funk Record for Betty Davis’s Crashin’ from Passion. The Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 compilation received Grammy recognition, while A2IM Libera Awards honored the company as Label of the Year (Medium) in 2021 and 2024. Discogs named Light in the Attic Indie Label of the Year in 2024. Specialized projects like Even The Forest Hums: Ukrainian Sonic Archives 1971-1996 demonstrate commitment to underrepresented music histories, while the Rodriguez catalog gained mainstream visibility through the Academy Award-winning documentary Searching for Sugar Man. Vinyl releases command premium collector pricing of $25-40 per LP, with limited editions achieving higher secondary market values driven by audiophile mastering from Dave Cooley and deluxe packaging specifications.

Product Quality Testimonials

Vinyl collectors and music enthusiasts consistently praise reissue manufacturing standards and curatorial depth. One collector described the label’s attention to detail:

“Light in the Attic sure does know how to make pretty records… They’re just a fantastic group, I picked up a Duster reissue and it’s amazing as well.”

Multiple customers report exceptional packaging quality, with one stating satisfaction after receiving replacement for a warped vinyl with immediate resolution. Another customer highlighted multi-purchase reliability: “Multiple orders from them and no issues whatsoever. Great shipping speeds, packaging, and pressing quality. Never had so much as a seam tear on a jacket.” The label’s distribution reputation extends beyond its own catalog, with customers confirming the company’s role as a primary wholesaler: “They are one of the biggest indie record distributors in the US (your local indie shops order from them). Order with confidence.” Photographer David Black, curating the label’s visual archive, emphasized the intimate artist relationships fostered during archival projects, describing one-on-one documentation sessions in personal spaces that capture musicians’ lives beyond performances.

Fulfillment Challenges

Direct-to-consumer operations face documented service inconsistencies, particularly regarding order fulfillment timing and communication responsiveness. One customer reported complete non-delivery despite payment processing, stating the order never shipped after one week despite website promises of 1-2 day processing, with unsuccessful contact attempts across email, social media, and non-functional phone numbers. Pre-order delays extend significantly beyond initial estimates, with customers describing waits exceeding one year and quarterly postponement notifications. One buyer experienced indefinite delays across two pre-ordered records, receiving rescheduling emails every four months. International shipping complications include customs documentation errors resulting in duplicate VAT charges. A customer service breakdown in August 2022 required American Express intervention after two months of email exchanges failed to resolve a simple incorrect item return, suggesting either limited staff empowerment or resource constraints. Response time issues persist across communication channels, though some customers report eventual positive resolutions when issues reach appropriate personnel. Patterns concentrate in 2022-2024, potentially correlating with warehouse relocation to Memphis and pandemic-era supply chain disruptions affecting vinyl pressing timelines industry-wide.

Distribution Infrastructure

The self-distribution model bypasses traditional major distributor networks, establishing direct wholesale relationships with independent record stores while operating warehousing and fulfillment internally. Digital platform presence includes comprehensive coverage across Spotify (50,000+ label page followers), Apple Music, Bandcamp for direct-to-consumer high-resolution downloads, YouTube for archival content and music videos, and TikTok licensing for viral trends. Physical media manufacturing partnerships utilize audiophile pressing plants and specialized printing facilities for 180-gram vinyl, tip-on jackets, and extensive liner note booklets. The distribution services division represents independent labels including Mondo/Death Waltz, iam8bit, Great Tracks, Temporal Drift, Waxwork, and Mississippi Records, handling warehousing, wholesale relationships, and fulfillment logistics. International reach extends through direct retail partnerships in North America, Europe, Japan, and Australia, with regional partners serving territories lacking direct coverage. Platform licensing includes sync representation through an in-house department negotiating film, television, advertising, and brand partnerships for catalog assets.

Artist Collaboration Approach

Estate and rights holder relationships emphasize respectful historical preservation rather than traditional artist development infrastructure. Betty Davis’s involvement in her reissue campaign demonstrated collaborative curatorial processes, with the funk pioneer reflecting on the projects as representations of historical periods rather than purely personal expression. Sullivan’s approach to politically sensitive projects like the Ukrainian compilation involved pivoting from broader regional overviews to focused cultural documentation when geopolitical contexts shifted. The Rodriguez catalog relationship began with 2008-2009 reissues predating documentary success, establishing long-term licensing partnerships spanning multiple format iterations and international editions. Licensing negotiations provide advance payments to estates and artists, recouped through sales before ongoing royalty payments commence. Limited contemporary artist partnerships like The Black Angels and Nicole Willis & The Soul Investigators represent distribution or licensing arrangements rather than traditional recording contracts requiring A&R investment, marketing budgets, or career development services. The business model excludes 360 deals, artist development programs, tour support, or contemporary talent signing infrastructure, focusing resources instead on archival research, master tape restoration, licensing negotiations, and premium manufacturing specifications.