All the musicians were very much involved. They didn't just come to the studio to make some money and get out. As a matter of facts, there wasn't much pay anyway, so they were really into it big time. They offered me their services which I appreciate very much.

Patrick Dorcean, I’ve known for a long time. He was the first drummer of Aramakiab.
He used to tell me that I fired him from the band, but I never did... I never fire people.
Something which is rather funny is that he replaced a drummer in Odex Protocole, Didier Fontaine, who replaced Patrick in Aramakiab and who's playing with me right now.
I just thought that if I wanted this record to be contemporary and modern, but still organic, he was the only drummer in this town that I could see who was streetwise enough to give it the right vibe.
We call him the razor, cuz he's so tight; he cuts, tempo wise he's just amazing and he also has a lot of musical and production ideas. He gave me lots of tips when I was encountering stuff in the studio.

With Thierry Rombaux I also played in Aramakiab, he replaced a bass player in Odex and he played in one of my favorite bands in Brussels, which was called Shake the Chicken. He played in it together with Patrick and I had always wanted to work with them if I ever did a solo record.
Thierry is one of those real bass players, and not a frustrated guitar player who basically tries to play guitar and fill everything up with solos. Thierry just loves to play the bass and knows the function of the bass, which makes him amazing.
He also has a lot of respect for songs, which he serves and enriches with a lot of his very tasty, critical, and analytical musical ideas.
What I like about Thierry as well is that when he makes a critique, most of the time he has a solution, or at least a proposition. He doesn't just criticize for the sake of criticizing.

Frederik Donche was living with me when it all started so he knew what was passing thru me. Odex was now out of action, and as the youngest member of the band, he had a fresh enthusiasm.

Even though he knew that this was a Bai Kamara solo project, and we would be going on a different journey, he was willing to come along with no questions asked. Proposing, working very closely, having lots of discussions - not only about the music, but also the vibe.
Fred is also so innovative with sounds. I mean we did this record four years ago and it could have been worse.
Fred and I worked together on the arrangements, the melodies, and I think for this record I must have worked with Fred the closest after the initial recordings. He helped a lot in logistics as well (bringing instruments from here to there), he had a van. He was very, very generous. This record is as much Fred's record as it is my record. He had really a big musical and spiritual input. An amazing talent.

Without Eric Moens, I couldn't have done this record. It's as simple as that.
If he's not the best musician he's one of the best.

Doing this record with Eric was so much fun. I have known him from even before Odex Protocole, so it was almost like an elder brother hanging out and working out things.
Eric was so good in this record because his playing as a guitar player was so vast and not only used for harmonic and rhythmic stuff, but also for obscure but important effects. It took us eight months to find the sound that we wanted and the style, but we got it right. Eric was so experienced that I just needed him to get there.
What I love about Eric is that when he works with an artist, he respects the artist: he's not there to change the artist, but he's there to make the artist sharp to do better things. He's there to give advice, and say "maybe it's not done this way, but it works." You know, turn the thing upside down so that it becomes obnoxious, weird and untypical, and then see what happens.
He's an amazing musician and an amazing man.