The Guitar Player's Resource
When Scars Become Beautiful Art. NAMM 2016 witnessed something unprecedented: a guitar design that turned wounds into weapons. While other manufacturers were playing it safe with traditional aesthetics, this Morgoth Scar/Curse model arrived like a blood-soaked warrior emerging from Middle Earth's darkest battles.
Those dramatic flamed maple "scars" aren't just visual theatrics - they're storytelling through wood grain. Each blood-red streak carved into that carved top tells the tale of Morgoth's eternal conflicts, transforming what could have been mere decoration into genuine artistic narrative. It's like having Tolkien's epic mythology written in flame-figure across your guitar's body.
You've probably seen plenty of "metal" guitars that look aggressive but feel awkward in your hands. This Morgoth does the opposite - that distinctive shape born from Giulio Negrini's 2002 napkin sketch prioritizes comfort alongside visual impact. The lower horn cradles against your body with surprising intimacy, while that deep upper cutaway grants access to fretboard territories most guitars keep locked away behind awkward geometry.
Here's where practical design meets mythological inspiration: those carefully studied proportions aren't just about looking distinctive. Every curve serves a functional purpose, whether you're seated for studio sessions or standing for stage warfare. The carved top isn't optional either - flat tops simply can't capture the three-dimensional drama this design demands.
The Scar/Curse variant represents something rare in guitar manufacturing: willingness to embrace darkness as aesthetic philosophy. While most builders chase pristine perfection, this instrument celebrates the beauty found in battle damage, the elegance hidden within destruction.
This isn't just channeling Middle Earth's first Dark Lord - it's proving that sometimes the most compelling stories are written in scars, and the most beautiful instruments are those brave enough to wear their wounds as badges of honor.
