“From the very first time I heard Are you Okay? I was immediately drawn into the song. What really intrigued me was the fragile vocal performance combined with the lyrics that expressed not only a traumatic personal pain but also deep compassion and empathy for the person who had caused the pain.
As cool as the track was I heard a different soundtrack to the scene that was playing in my head. something that matched the fragility of the vocal but also grew to greater intensity to capture the extremes of the feelings. I was surprised when she asked me to sing on the song and took me a few days to figure out how my voice could help lend anything to an already great song. Hopefully, my voice didn't damage the song like an angry giant stomping through a flower bed. It was really fun and cathartic to work on the track and I'm very grateful I was granted the opportunity.”
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Christopher Hall [Stabbing Westward]


“My understanding of ze language English is alright, I think, but we, non-English native speakers, do get songs on a pure acoustic level at first even though we do grab pieces of the lyrics here and there but it isn't an experience when we get the whole thing at once.

So, for moi, listening to the original mix of "Are You Okay?" was more like hearing an encapsulated moment in life, a whole little world in itself, first the music appears then the vocals: a vehicle for sadness and sorrow but also, compassion and someone opening its heart to the pain of a fellow human. A global impact, one one-size-fits-all "I'm hurting" statement where the music mattered first more than the vocals and then it gets in your system, you get the lyrics but it's too late: you're hooked.

When I got the stems for the remix, I wanted to go to an ominous ambiance, something simple dragging you into its own sonic logique. Add Emileigh's vocals, she grabs you and whispers a terrible story in your ear, you cannot escape from that moment.
The backing vocal gives it an extra layer of distance but you know you're already a prisoner of the sad story unfolding in your ears. In the stems, also, an innocent bells-like synth could also serve as a counterpoint to the dark sounds flowing in.
But every sad story needs a country slide guitar, right? And every drama needs some brass also!

And it's when all unfolds that you're facing a terrible truth: isn't Emileight talking about you ?”

Jean Marc Lederman [The Weathermen]