CHRIS: Ash have already said that.
TIM: Everyone is torn at the moment because you never quite know how it’s going to go. I think we, as a band, and you guys, as music fans, value ‘an album’ and not just because it’s an album and a complete concept, but because it has a certain number of quality songs. It feels like you’re getting this ‘multipack’ of quality material. It does feel like that’s not going to be necessary – you’re not going to have to write an album’s worth of great songs. But I’m sure that in itself will make for a different kind of competition between bands. It’s a weird one – I’m reading a book by Geoff Emerick at the moment, and he’s talking about how, in the earlier period of the Beatles’ career, the singles were considered to be more important than the album because they were attracting attention - it was the singles that got played on the radio, and that was driving record sales. Certainly in the very early ’60s, the album was just a few singles and a load of cover versions and fillers. The concept of quality songwriting output was not valued particularly highly. It’s hard to say one approach is better than the other, but I still like having a full album.
ANDREW: Have you ever done anything under a false name, or alias?
TIM: No, I haven't. I was thinking recently that it’d be nice to do an album or something where we were completely released from the pressures of being Keane. It’s a bit of a weird problem because, if you go back a few years or a few decades, bands and artists used to chuck out albums all the time. Now, when you release an album, it’s such a big deal - especially if you’re ‘major league’, for want of a better phrase! There’s so much competition for people’s attention that if Keane released a completely shit album that only sold 5 copies, it’d be very hard to say “Oh, well, we’ll just release another one 6 months time”. I think it’d be almost impossible for any band to come back from a real failure and get people’s attention, because people move on so quickly – I mean, I do. If I hear a band that I like and I go out and buy their record on the merit of their past albums, and then I get home and think “Oh, it’s a pile of shit, they can’t have tried too hard on that one”, then I’m probably unlikely to go back next time round and give them another chance. We’re all so spoiled with the amount of music that’s available to us now that we’re pretty fickle. Because of the type of band we’ve become in terms of commercial size, it’d be hard to put out an album of twiddly Aphex Twin-style typewriter sounds.
ANDREW: Did you enjoy making 'Tyderian'?
TIM: Yeah, I did. It kind of came about by necessity – that was when Tom was in the Priory. It was like “Well... I can have a go now!”. I love doing that sort of thing, but I rarely have time to do it – let alone the incentive of it becoming a B-side or whatever. I loved being able to do that, it was fun and I would have liked to spend a bit more time on it. It was playing at the O2 aftershow, I don’t know why! And when it came on all I could hear was the kick drum, and I thought “That sounds pretty funky” and then I realised what it was! So I felt quite smug about that. It’s pretty basic, and it’s quite sinister sounding, which I like.