So, we’ve just had quite a day – a dichotomy of our lives within a pretty silly industry….

Simultaneously we’re announcing a release of a single, alongside a video, complemented by a bit about the song in question (as it happens to be next in our long drawn talk about what the album is to us…).

Violence Out Tonight: I’ve never been affected by the issue of this song – a grim, despicable and weak act, so hope upon hope that the portrayal is apt… If not then I sincerely apologise: I feel that women’s rights are often forgotten in what is still a blatantly sexist society and I wouldn’t want to unwittingly add to this tumult, however neither do I want to adhere to the omertà….

The song came together very quickly, with many versions of verses having to be consolidated into three.. It was a song that after it was finished I just wanted to sit and play in a room for hours on end… The percussion track is a mixture of heavy claps, a washing machine door and a bin lid recorded in Mickey’s kitchen. It really feels like we’ve watched this song grow up and flourish: from being written on a acoustic (rare for us), to being an addendum to Jennifer, onto an album track, before finishing up as a little single…

The lyrics speak for themselves and can be viewed here: www.littlecomets.com/lyrics/

As does this video by Fern Berresford: www.youtube.com/watch?v=HytJ2rrKEM8

We chose this song to release because we really love it: this is the way we choose things – not to second guess tastes or to get on the radio or to sell tickets to gigs but because we are proud of what we’ve made… Romantic? Delusional? It would appear so….

The exquisite contradiction of the music industry taught us another poisonous lesson today, which is unfortunately intertwined with our above desire for passion above strategy. Our little label Dirty Hit has the dubious honour of releasing albums through Sony Australia… Today they informed us that they aren’t sure they want to involve themselves in “Life is Elsewhere”… The reason: a lack of UK plot…. A little part of me died, again. Whatever happened to being involved with music you love and wanted to share with other people?

Now that the quality of our music, the poignancy of our lyrics and the rigour of our productive pronunciations are seemingly of lesser consideration than a Radio 1 playlist, an NME two week love affair or a tweet from a minor celebrity we really do despair about the people inherently making decisions as to what music you should hear.

But we carry on, unabashed.

That we are still choosing to release a song we admire, makes me even more fervent about continuing to make music for the sake of being expressive rather than other soiled diluents.

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