Comparing the recording process of ATOMS FOR PEACE to the way jazz music was made, Godrich said: „I think of ‚In a Silent Way‘ (Miles Davis‘ 1969 album). Adding: „It’s that thing of creating interaction between people and then editing that whole thing to create dynamics, you know? It’s weird – it ended up being sort of [a process of] interacting as much as we could do that, and we were thinking about things in very much a jazz way in terms of using edits and big blocks of music to create arrangements.“
Godrich went on to elaborate on the sound of ‚Amok‘, offering up an insight into the „blurring“ of electronic and organic instrumentation.
„It’s supposed to blur the line between what’s generated electronically and what’s generated by a human being, no matter if it sounds organic or electronic or whatever. In an ideal world, I think it’s true to say there are things on the record that sound like machines that are actually people and there are things that sound like real sounds that are actually machines. But the real thing is just to get the combination that works.“