When asked to elaborate, Azagthoth blurts, “Humans are dynamic and we can program ourselves, by what we choose to influence and condition ourselves with. We can all create an embed into ourselves-the kind of code that we deem useful to achieve whatever results we want to achieve.”
But humans are better than any computer, really. Magic and philosophy is the code, just like the code for computer software. “I was just exploring the place and tapping into the magic of the moment. “Bro, I didn’t have much of a clue as to what to do for solos so I just got in there and jammed to it and recorded things,” he admits. From one song to the next, Azagthoth plays a torrent of mindblowing solos, ranging from the detuned noise wash of “Piles of Little Arms” to the frantic hammer-on, pull-offs and tapping of “The Righteous Voice.” Whether playing textural fills or blinding sweep-picked, flanger-saturated runs, Azagthoth is locked in the moment and going with the flow-mostly by necessity. Throughout songs like “Garden of Disdain,” “Architect and Iconoclast” lie an abundance of hairpin turns, long, deep string bends and vertigo-inducing tempo shifts.
With the help of producer Erik Rutan (who played guitar in Morbid Angel for two three-year stints), Morbid Angel has created a modern-sounding, old-school album full of barreling double-bass drumming, machine-gun blast beats, skewed riffs and choppy guitar patterns.
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