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DM: Hi Mike, thanks for taking the time to speak with Discipline Mag. While most know you as the voice of EyeHateGod, you’ve been part of a diverse range of projects over the years – from Corrections House to Outlaw Order to Arson Anthem. Could you tell us about a couple of these projects that you feel represent different sides of your musical/creative personality compared to EyeHateGod?
Mike IX: Hey Dan, glad to be here! I’m a fan of Discipline so it’s great to talk to you.
So yeah, EHG has been a band now for over 30 years, give or take, so of course people know me mostly from that. I have done a lot of other projects that were just one offs or were done just for fun. Some of these projects toured and some stayed in the studio. As well as fully realized groups, I’ve done a multitude of featured vocals on records by bands like Strong Intention, Marginal Way, H099o9, Brutal Truth, Bloodyminded/Ten Suicides, Teenage Time Killers, Dead End America etc… All of those were way fun to be involved with.
Nothing I’ve ever done has been purposely meant for any kind of wide audience acceptance, so having EyeHateGod get the recognition we have is pretty crazy to us, but we do welcome the love and attention.
Arson Anthem wasn’t really planned, in as much as it was destined to happen. I had just gotten out of jail after hurricane Katrina and was staying at Phil Anselmo’s guest house, which was a barn slash practice room slash studio with an apartment upstairs. Hanging out there I was burning CDs of music I had lost in the storm, all sorts of different things, but a lot of early hardcore punk. We were just listening and being nostalgic and the inevitable idea came up to do a group together, since I was gonna be there for a while until I got my life in order. We told ourselves, let’s do a raw, primitive three chord HC band and release some vinyl on his newly formed record label. If you hang out with Phil for any decent amount of time you’ll probably end up in a band with him haha…
So with Anselmo on guitar and me on vocals, we recruited our buddy Shelton Williams, better known as Hank III, to play drums and another friend Colin Yeo on bass. We did an 8 song self titled ep which was influenced a great bit by Discharge and other early chaotic ripping thrash punk. I think it’s 10” and holds up to this day. We got more serious about writing and recorded a full length next called Insecurity Notoriety. That one is 17 songs and more influenced by bands like Die Kreuzen or later Black Flag, maybe? I think it’s got great performances from all of us; jagged guitar riffs, speedy offbeat drumming, great off kilter lyrics and rolling chunky bass. I even wrote the main riff to the title track, and of course most of the words. We did some local gigs and managed a short tour in some ‘off the beaten path’ cities that were NOT Boston, California or NYC and the booze flowed freely. That tour wasn’t super good for me as I was starting to feel what was the beginnings of alcoholic liver failure. I was pretty much nauseous 24/7. We were all drunk as shit consistently and had been for years. No regrets though, it is what it is. I think we all had fun doing Arson Anthem. It fell apart after like four or so years for a number of reasons, but obligations to our main bands was the main issue… So, as if I had no free time before, I decided to jump right into another band called Corrections House. By that time EHG was touring again as well, post hurricane.
A number of years ago in an interview with Thrasher Magazine when asked about early influences you said “I like SPK and Throbbing Gristle, noise stuff.” What is it about the unique themes and soundscapes of these first wave industrial groups that interest you?
I really don’t like saying “noise stuff” or “noise music”, it just sounds so simplified, but when explaining it to someone who may not know who the hell SPK or TG is, I guess it’s a necessary evil. You used to be able to say Industrial, but like you did above, we need to preface it with “first wave”. In these different times, Industrial is synonymous with techno dance music mostly. It’s one of those things; like saying “Hardcore” in 2025, people immediately think of some lunkhead music and NY/HC bands. I’ve always said “hardcore punk”, because the two go together like peanut butter and jelly. Hardcore without punk is meathead sports jock bullshit and I hate it. Experimental is a good catch all phrase. There are so many sub-sub-genres now; Power electronics, harsh noise, dark wave, ambient noise, synth punk, death industrial etc etc…
Back to the question. I love those early groups because they ARE unique… They took the ideas of dada artists and punk rock having absolutely no rules and ran with it, adding an (un)healthy appreciation for various forms of art, the majority of it ultra abstract, and some with darker intellectual theories. They created something more oppressive and harder to grasp than basic three chord rock, while still being subversive to society. Actually most of these groups were way more threatening than any third rate clone of the Sex Pistols or Clash. I totally love the Pistols and the Clash, that’s my roots, but there’s a time and place for everything. Upon hearing warped found and synthesized sounds with heavy abnormal percussion, and seeing the sardonic images used to represent these fresh new transgressive thoughts, I was mesmerized and fascinated. I started digging immediately. In certain punk fanzines from the late 70’s on I would read an interview, see an advertisement or read a review for “industrial” music. It seemed harder to understand, which intrigued me. Challenging music that made me feel filthy and at the same time, like I was learning new things.
These early industrial groups form a very niche corner of music and I’d imagine your interest stretches further than only SPK and Throbbing gristle. What other industrial, noise, experimental etc groups interest you?
It’s such a vast field it would be impossible to list everything I’m into, I’d still miss a few hundred names… SPK to me are the be-all/end-all to be honest, they encompass a variety of elements I love about experimentation and art. I didn’t mention the SPK conundrum yet; that when I tell someone I’m into SPK and they search Youtube and they come up with the later dancier stuff so they don’t understand where I’m coming from exactly.
I do like those later percussive metal dance albums, but it’s not the Mekano/Slogun 7” or the Last Attempt at Paradise cassette or the awesome first two albums. I let them figure it out.
I always thought it was cool that Butthole Surfers cited SPK as an influence. I saw BHS in 1984 or ‘85 along with maybe 15 other people. We took a lot of LSD around that time so learning they existed was another epiphany. Throbbing Gristle of course are probably the best known of the early groups with offshoots like Psychic TV. Genesis got some mainstream press here and there as well. Einstürzende Neubauten were another early find I think I read about in Forced Exposure or maybe heard them on college radio. Alexander Hacke from EN is a friend, he’s been to see a couple of my bands in Berlin and I was at a rehearsal in Brooklyn with him, Chris Brokaw (Codeine, GG Allin & the Aids Brigade) and Bloody Rich from Live Skull for a perspective band I was hopefully gonna be the vocalist for. The session was recorded, but nothing ever came from it.
So, Subklinik, House Arafna, Atrax Morgue, Nurse With Wound, Brighter Death Now, DAF, Incapacitants, Cabaret Voltaire, Section 25, Culturcide, Nocturnal Emissions, Factrix, Aube, Coil, Nervous Gender, Test Dept, Z’ev, Fetus Productions, Suicide, Hanatarashi, Sudden Infant, Dissecting Table, Prurient, Hafler Trio, Bloodyminded, November Novelet, Intrinsic Action… And there’s so much out there, I could literally go on and on…
In the Vice/Noisey documentary ‘NOLA: Life, Death and Heavy Blues from the Bayou’, Jimmy Bower mentions listening to SPK (as well as Chrome, Swans, Melvins) when the name EyeHateGod was coined. Further, in the Revolver article ‘8 Albums That Made Me’, three of your chosen albums were by SPK, so it would be fair to say they were pivotal in EyeHateGod’s musical journey. But in an era when discovering such niche music required genuine effort, I’m curious about your journey towards these influences in the 80s in New Orleans. How did you learn about and acquire material by SPK (and related groups) in the pre-internet era?
Fanzines and record stores, limited word of mouth. Almost every spare penny I had in those days went to underground music publications and records. I had a friend named Wayne Fabra, nicknamed Doobie, who was amazing at finding the darkest, most extreme and strangest records around at the time. We were all so young then and Wayne already had all the SPK albums on vinyl, all the VHS tapes etc… He lived far out in a suburb of New Orleans and was a practicing satanist in the early 80’s, when it wasn’t trendy or cool to do so. Most people were frightened of Doobie. He was always a sweetheart to me. Dude was like six foot four and pretty menacing, he played drums in a number of bands most notably Graveyard Rodeo, who were highly influential in NOLA. Their demos are stuff of legend around here, although later on there were no original members and I didn’t care anymore. He also sang for Christ Inversion. He just passed away recently, like two weeks ago. I credit him with exposing me and others to a lot of incredible things.
I have to ask about your experience being part of the ‘NOLA: Life, Death and Heavy Blues from the Bayou’ documentary, too. Back then (2014) Vice was one of the most relevant cultural voices and, if market valuation means anything, was worth a couple of billion dollars. Since then, Vice Media has had a dramatic fall from grace and filed for bankruptcy. What was your experience of being involved in this production? And what do you make of it in the context of the fortunes that Vice won and subsequently lost?
Our relationship with Vice magazine really started at least as early as the tail end of the 90’s. I was a big fan of the magazine and would pick up every new free issue at Tower Records in Manhattan when I lived in Brooklyn, so when they contacted us with interest in the band, I was excited. The first thing they did, I believe, was an EyeHateGod maze, a game essentially, where readers were to “help” EHG get through the maze of crime, cemeteries, voodoo and death to find the stash of drugs hidden at the end. I thought that was perfect. In June of 2005 we headlined an insane, wild Vice party in NYC at a strip club called the Pussycat Lounge. Two months later hurricane Katrina hit. Andy Capper, former vocalist of UK post-hardcore band Dead Wrong and at the time, big shot journalist, editor, executive producer at Vice mag (who we found out was a fan since 1993) came down to our storm devastated city to hang out and we became friends. The resulting article he wrote appeared in the London Observer and The Guardian.
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Next there was a piece about EyeHateGod and the flooded city. Andy even sent money to our bassist to fix his car post-storm. We all had a great time doing that Noisey documentary and I think it came out really good. It paints a pretty truthful picture. As far as their valuation and then bankruptcy, I wish ‘em the best. Andy left in 2017, so honestly I haven’t paid much attention to their money woes. Their bold news and music journalism was second to none and they are still doing great documentaries on Vice TV, which is available on some satellite channels here in America.
You played shows with GG Allin a bunch of times. Was this total chaos as the legend would have us believe? And what was GG like as a person – do you have any interesting anecdotes?
We only played one show with GG and the Murder Junkies, but I’ve seen him live a few times. He was fine hanging out before the gigs. The night before we opened for him, he was out at our local punk bar, drinking with everyone. Of course the stage performances were a different story. At the first gig a bunch of us stood right at the front and he totally left us alone and went for the people in the back. Fights broke out. I saw him squat down to defecate & I was out the door and across the street immediately. From my vantage point behind some cars, I saw him exit the venue chasing people while covered in shit.
The next time he came to town, when we pulled up there was this complete psycho dude bleeding on the sidewalk out in front of the warehouse. He was some disturbed homeless crusty punk guy and had cut his own face up and was telling us he had been backstage sucking GG off and drinking his piss, which after a few reliable eyewitnesses told me, was 100% true. The band started, GG was bleeding and throwing chairs and someone smashed the door glass at the front of the place and they pulled the plug. That also had a lot to do with GG attacking a girl and the entire crowd jumping him. The third time, EyeHateGod played right before Allin. This one was mostly fist fights the entire length of their set, maybe 20 minutes or so. Assorted friends took turns trading punches with him, trash cans & bottles were smashed and thrown, I got clobbered with a cymbal stand that split my chin open when I got up on stage to join Merle to sing backup vocals. It was all a blur and then it was over. There’s more details to all of these gigs, I could write multiple paragraphs… Of course a few weeks later, GG was dead. Glad to say we got to play one of his last shows with him. So the deal is, just to get it straight, I was never a GG “fan” like some of these kids these days who worship him to be “edgy”. I am NOT at all into the idea of rape or the scatological aspect of this strange artist. I did, and still do like the early music he made, the dirty punk rock tunes and the sense of abandon and chaos he actually lived in his life. I first heard of GG Allin in 1984 from a comp tape I had gotten through tape trading and was drawn to the lawless raw power style rock n roll and the premise of a human being stripped down to their basest, most primitive animal-like instincts. That last album that they recorded was so far removed from what he used to sound like, I wasn’t impressed. Interesting case study nonetheless.
I have similar questions about Seth Putnam. EHG played with Anal Cunt at least once in New York at CBGBs. What are your memories of Seth? And how was the CBGBs show?
We never played CBGB with them, we did do a few gigs with ‘em in NYC. We’ve played multiple quadruple shows with AxCx, we did a month-long U.S. tour with them, not to mention almost every show we played in Massachusetts for a good many years. The first time we ever played Boston we played with Anal Cunt, Grief and Psycho, all three legendary groups. We became fast friends with all those bands and I keep in touch with almost all those guys, the ones who are still alive that is. Seth was not like what people now make him out to be. He’s spoken of in the same league as GG, which is not true at all. Sure, Seth started fights, drank a lot and did some atrocious stuff, but he wasn’t some uncontrollable sociopath like history has made him out to be. I’m sure he would love the exaggerations however. We always had fun together, always got black out drunk together and had some entertaining out of control gigs together. He was a comedian and prankster. Seth was very much into the Village People, Sockeye and Borbetomagus, which says a lot about him. His early lyrics/insults were humorous, if a bit offensive. I guess when those weren’t shocking enough, he used racism as a way to piss off people again. It worked, people were appalled. The song title “I Went Back in Time and Voted For Hitler” is funny only if you dig really dark humor. Hard drugs came into the picture and at some point he overdosed and went into a coma. Don’t wanna get too personal about his private life because I dont know a lot of details about all this, but I think a lot of folks know that it was a possible suicide attempt.
We played the first AxCx show in Boston after the coma and he had to use a walker, as the coma had damaged his motor skills. He sat in a chair on stage. It was a bumer, but in true Seth fashion he completely made fun of it and they did a cover of Elton John’s “I’m Still Standing”. I was at the San Francisco gig on the Haight-Ashbury where he accidentally hit the hippy girl. I’m in the video footage. I ran out the fucking door when people said the cops were actually coming. Me and Seth had drank two bottles of Southern Comfort that day. That recording by my buddy Yaz ended up as the Breaking the Law 7”. One of the greatest things I love about Seth is him having Negative Approach play his wedding…
Another character who fits into 90s ‘low culture’ is Eldon Hoke aka El Duce of The Mentors. His output with The Mentors was overtly offensive, but I’ve also seen amateur handycam footage of him in the 90s at a house party candidly speaking about Courtney Love offering him money to “whack” Kurt Cobain. From this view, El Duce appeared humble, open and approachable, which was in contrast to his stage persona. I believe you met him at least once, what was your experience with El Duce?
Oh yeah, good ol’ El… Met him for the first time when they were on tour with Saint Vitus (who had just freshly acquired Scott ‘Wino’ Weinrich on vocals) and as we’re at the VFW hall waiting for them to show up, the promoter gets a call that they are broken down a few miles out of town. The guitarist for NOLA hardcore punk band Shell Shock volunteered to go pick them up in his van and asked if I wanted to take a ride. Was a crazy gig but the funnest was after the show we all went to a party at this punk house called the Armpit and I took LSD with Wino and he dubbed all the Obsessed demos and live recordings he had for me, but that’s off topic. El Duce was maxin’ on the punker chicks there and telling us jokes before passing out on the stairs. Met El again with Joey LaCaze, our drummer then, in Richmond, Virginia behind a 7-11 where Duce was drinking with some old vagrant guys. We shared a couple 40 ounces and invited him to the squat where we were staying with the band Buzzov’en. We got up to go and looked behind us and El had disappeared, not before letting us know that “GG Allin was a fag you know…” Uhhhh thanks Eldon?
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Anyway the Mentors played that night and he couldn’t play drums because he was so drunk. They actually toured with a second drummer because this happened so often. Years later, I might have caused him to get left in New Orleans. I gave him some valiums when they were on stage and he took them all, already being fucked up drunk. We found him later in the French Quarter passed out and drooling on Decatur Street, his band long gone. That happened a lot apparently and he would just get a Greyhound bus to the next city & show. He never remembered my name but he remembered me when we met. An eerie coincidence was one of my best friends, a severe alcoholic and schizophrenic, was run over by a train in 2017, he was laying face down across the tracks and had a bloodied knife in his right hand. Still officially unsolved, similar to El Duce… So in conclusion, El Duce was a laid back, gregarious, sometimes homeless guy. I never saw him violent, ever. He’d share his cheap booze with you if you were buying the next bottle. Another true rocker who lived day to day.
The band Corrections House was something of a supergroup featuring yourself, Scott Kelly of Neurosis, Sanford Parker and Bruce Lamont. How did this formidable lineup come into existence?
I’m not fond of the words “super group” to be honest, but it was a conglomeration of my good friends and talented “outsider” artists. People who were somehow labeled “metal”, but had their hands and minds in all sorts of otherworldly and difficult music. These are the things that brought us all together. I knew Scott from mutual friends and first met him at CBGB when Neurosis came to town. We were already fans of each other’s work and bonded immediately, knowing each other’s history of tragedy & addiction. EHG toured the entire USA with Neurosis in 1997. I knew Bruce Lamont and Sanford Parker from Chicago, both being admirers of my bands and I, being a fan of their respective bands; Yakuza and Bloodiest & Buried at Sea and Minsk. They were friends with Scott as well. Bruce and myself had done a few spoken word/electronics shows at SXSW and planned to do more together. I also MC’d a showcase in Austin where both Bruce and Sanford’s bands played, and we talked about doing a project of some kind.
That’s kind of the basic origins of Corrections House; four weirdos coming together go on tour and do four separate sets then a culmination at the end of the set with us all playing together with no rehearsals. We wanted it to be spontaneous and improvisational. We booked a tour which was to start at Brooklyn’s St. Vitus, the sadly now closed venue, in the dead of winter. We somehow got a sponsorship from the corporate car company Scion without playing a note together! They gave us a free rental vehicle which turned out to be a small mini-van type thing. As the tour progressed we began to mind-meld I suppose. The four solo sets merged into full on songs very quickly and after that tour, we actually had a realized band. We ended up recording a 7”, two full length albums and a live album recorded in Los Angeles. Four tours I believe in total? Two in Europe, two in the US of A, one of which ended prematurely by a few gigs when I got really sick. Scott took me to the hospital in Austin and I was told I had 12 months to live, right then and there. After numerous hospital stays and visits and one more attempted tour with EHG, I ended up in a coma in a seedy motel in Louisville, KY. There was a EU tour with EyeHateGod somewhere in there I believe. I was touring back to back with both bands, still drinking heavily and flying back and forth to Chicago to record. CH had to cancel a European tour and everything was put on hiatus. That was pretty much the end of Corrections and I didn’t tour again until 2017, four months after my liver transplant and EHG haven’t stopped touring since.
I wanted to mention a studio-only band I did around the same timeline as Arson Anthem and Corrections House. It was with my friend Ryan McKern and it was called The Guilt Of…
The ellipsis at the end of the name is stylized as such, as to always be a part of it.
We released many recordings which are mostly all out of print now, but a few can be found for sale online:
A 12” split ep with Merzbow on Chrome Peeler, 7” split with Full of Hell on A389, a 10” with IVS Primae Noctis on Trips Traume, a cassette in a silk screened paper bag from the 5nakefork label, a full length on At War with Noise, a full length on Last Hurrah records, a solo Mike IX and the Southern Nihilism Front 7” split with Bloodyminded also on Chrome Peeler, a Mike IX solo anti-cassette coated in broken glass by Auris Apothecary and I might be forgetting some others… Here’s some links:
The Guilt Of… Stream on Decibel Magazine
The Guilt Of… on Bandcamp
AAX-039 – Mike IX Williams – Glass Torn and War Shortage (anti-cassette promo)
You recently told Lydia Lunch that you stalked her back in the 90s. It was pretty funny to hear her laugh it off so nonchalantly. What happened here and how did you get hold of her details?
I’m sure it’s not the first time she had someone stalking her. I first read about her in the early 80’s; her music, her spoken word rants and of course the Richard Kern films. She moved to New Orleans and I was set on finding her, but I cannot remember where I got her phone number. It wasn’t freely given to me, I believe I copped it off a piece of paper or a rolodex when someone wasn’t looking. I was a terrible stalker however, my girlfriend at the time would not have been happy if I had gone any further than calling Lydia’s phone. Unfortunately or not, she wasn’t home, but I had to try. I would’ve fumbled the entire thing, although it was fun to go through the process. It was great to finally talk to her on her Lydian Spin podcast and an honor to be asked. She’s a legend in this dark world of music that we coexist in.
We hold a shared admiration for Karen Carpenter. Could you elaborate on what captivates you about her legacy and artistry?
The Carpenters were always on the radio when I was growing up and I sensed a strange foreboding aura about the sickly saccharine sweet songs I was hearing. Seeing them performing on television then, and learning about the anorexia and her brother’s drug problems added even more creepiness to the duo’s personalities and vibe. This is all without hearing about the demented incest rumors being tossed around until later in my life. In the early 2000s I was using cocaine intravenously and I picked up a bunch of their early albums at a thrift store, and it all came together for me in the darkest way possible. In hindsight it was life affirming. Shooting up coke is akin to feeling some evil presence in the room with you, so her cover of the Beatles ‘Ticket to Ride’ felt like a possession of the ultimate internal depression. Awash in this feeling gave me superpowers.
You grew up skateboarding and listening to punk rock, which is not dissimilar from my own youth. What was your youth like during the skateboarding and punk rock era?
I got into the early electricity of punk rock sometime at the end of 1978, coming out of Alice Cooper, Kiss and Aerosmith worship. Even before that, when I was 8 or 9 I was a big Who fan, and I first heard Sabbath at that time from my two older brothers. In probably 1981 or ‘82, I got my first decent skateboard, a 10 by 30 Santa Cruz with Independent trucks. My friend Champ, who I mentioned earlier and who later got run over by a train, rode a killer Duane Peters model and we were street skaters; hitting parking garages, city park architecture etc… Going to punk rock and hardcore gigs at night, rehearsing with our bands, spray painting and skating were all we had and we never wanted it to end. I was never a great skater but my knees are pretty trashed from street skates and I don’t ride anymore obviously, but it was fun when it was a day to day way of life.
Your book of Bukowski-esque prose, Cancer As A Social Activity, has garnered a degree of praise over the years. I know it was released 20-odd years ago now (2004), but how did you transition from EHG frontman to releasing a book? And are there any future plans in terms of writing?
Actually the first printing was in 2003, put out by a small publisher called Southern Roots and Hot Box Press, but a lot of the writing was as old as the mid to late 80’s and early 90’s…
I’ve been writing since I was very young. I was an avid reader in my single digit days in elementary school. I loved my older brother’s books on John Dillinger, Ma Barker and all the classic bank robbers, the Mafia, World War Two as well as Marvel Comics. I especially had/have an affinity for the Silver Surfer, I can relate to him. I was given a copy of Kahil Gibran’s The Prophet when I was maybe 9 or 10. I was obsessed with reading and the library as long as I can remember. I would rather spend time in a library than play sports, I’m still like that. I started my first real band in 1981 with high school friends, we were called Teenage Waste and I would sneak out to play gigs. We had a “residency” for a couple months at an old man dive bar called the Rose Tattoo opening for local legends the Sluts, the Goners, Toxin III, Shell Shock, Graveyard Rodeo etc…
That led to me running away for good to Texas and California and finally not coming home until the Misfits cemetery arrest in 1982. So you see, there was really no transition, I’ve been doing this stuff all my life. Reading, writing, music, repeat.
When I was a teenager I saw an advertisement on MySpace for an EyeHateGod show that said:
“EYEHATEGOD SHOW IN 24 HOURS – START DRINKING”
I thought it was one of the funniest and rawest things I’d seen. Over time, many of us reevaluate our relationship with drugs and alcohol, and since then you’ve endured substance related battles and even had a liver replacement. What is your relationship with drugs and alcohol nowadays?
That’s funny… I don’t remember it at all but that sounds like something we’d say for sure, I’ll definitely have to use it again sometime. Yeah I’ve chilled out on the booze and drugs for years, I enjoy living life right now. It’s nice to not have hangovers every day and wanna die. It’s so strange to me how I’ll see comments on social media either confirming my complete sobriety, “Yeah yeah Mike’s been sober for a looong time” or denying that fact, “I saw Mike the other night and he was so fucked up and begging for drugs”. All these people are so full of shit. It’s fucking insane that people make up total lies and post this utter nonsense as unadulterated truth. Why people pretend they know me in my personal life, I’ll never know. Probably the worst thing about this computer world we’re living now are the fools out there hiding behind a keyboard. It baffles me and makes me want to kill them. Misinformation is so rampant in the 21st century, it’s just sickening. I wanna go on record here to say I hate the future. But yeah I’ll have a couple drinks here and there, but nowhere near the self destruction path I was on before. Actually, I just hate the human beings in the future.
RELATED CONTENT: EYEHATEGOD LIVE IN MELBOURNE 2019
One of your albums that I grew up with was Dopesick. I’ve always been fascinated by the screams in the opening to ‘My Name Is God (I Hate You)’ where apparently you smashed a bottle and cut yourself on the glass? In your own words, what exactly happened here?
We were in a fairly fancy studio that Century Media records was paying for and we wanted to capture the sound of breaking glass and me screaming and carrying on for the intro to the album. We grabbed a trash can and a shit load of bottles laying around, dropped a microphone into the can and hit the record button. I proceeded to do my job pummeling the bottles against one another and yelling violently when the next thing I saw was blood pouring out of my hand, into the garbage bin, dripping onto the floor and all over myself. Joey the Unadrummer, began writing in my blood on the floor: Death to Pigs, Hell and Healter Skelter. It’s hard to recall what all was written. The next day, when we were at home sleeping off the night before, the studio prick/owner/engineer opened up the place, he got an eyeball full of what working with EHG in the 90’s was like. He immediately called Century Media, whom we hated with a passion then also, freaking out asking if we were mentally unstable and said we would have to be evicted from finishing up the record and he may possibly call the police on us hahaha. He was a normie Christian loser type of dude. CMR called up Jimmy and they were also freaking out, saying we have to go get our equipment and find another studio. Luckily we were done with the recordings and only had to mix it, so Billy Anderson took the tapes with him and Joey and Brian flew out to San Francisco and mixed it in like two days on lots of amphetamine sulfate. Fun fact: only a small part of the recording of me smashing the bottles was used as the intro. Somewhere there’s more of that nonsense on reel to reel tape.
In New Orleans there was a terror incident in the French Quarter on New Year’s Eve. How is the community processing this recent tragedy? It’s crazy to think that such a horrific incident was only six weeks ago… [from time of interview]
Well, everyone was disturbed by it. Things like that never happen here. We’re used to gun crimes like robbery and murder, but that was a very scary and bizarre thing to happen, we all had to make sure no one we knew was down there. I live only maybe a mile from the French Quarter right now, in the 7th Ward. The ignorant sports game the Super Bowl was just here and the military was sent in, which was of course after the fact. Combat barricades were set up on all the streets down there to block any sort of copycat. We just celebrated Mardi Gras here and everyone is safe, mind a few local shootings.
Appreciate your time, Mike.
Thank for the interest
Destroy society. I live in a hole in the ground..
My book Cancer as a Social Activity is available at EyeHateGod gigs and my spoken word shows or anywhere illegal propaganda is sold.
www.EyeHateGod.ee
www.MikeIX.com
www.Twitter.com/MikeIXWilliams
www.Facebook.com/MikeIXWilliams
www.Instagram.com/southernnihilismfront
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