I've always been fascinated with the juxtaposition of technology in music, not only in recording, but in the keyboard. It's amazing the way you can apply technology to an art form.

I think that Yes' music is kind of on its own out there, and it goes through different chapters, and that involves different people. I don't think it's a case of 'any year is better than any other.' They can all co-exist quite comfortably.

To some degree. I think that I've always been very much of a chordal person. The chords are the foundation of everything. Some of Yes' stuff is very linear, albeit complex, but it's single-line melodic stuff. So I kind of had to wear a different cap working with Yes. It's not so much chord-based.

With NOAH, you can create some stunning, yet original soundscapes. Therefore, as a performance tool, it really comes into its own because you can make one single performance which has a lot of detail.

The Buggles was much more a studio environment idea, which we never actually took on the road.

I think when you follow a band, you're following a - and I don't like to use the term 'brand,' but you are following a kind of style, if you like. So I think you have to accept that there will be different people involved from time to time.

Styx has their own style of music, and I think that's justifiable, the same way that Asia and Yes have had - Yes particularly has a unique style that seems to have transcended all styles of music for 43 years.