Light In The Attic first became a player in the Seattle music scene by producing live shows by rising artists like Saul Williams, Interpol, and Peanut Butter Wolf. 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 in late 2002.
Light In The Attic has proven 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. 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 Sixto Rodriguez, a Detroit born singer-songwriter who effortlessly blends the sounds of folk, psych, and soul. And who can ignore the recent reissues of Greenwich folk great Karen Dalton, funk goddess Betty Davis, and legendary French troubadour Serge Gainsbourg? The music is timeless, and a must-have for any music fan. In addition, LITA now distributes a number of impressive labels.
Recent signings by Light In The Attic of up-and-coming bands like The Black Angels 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.