Interview conducted via email in August, 2014. Thanks to Gumiho (구미호) for the translation from Korean to English.
It took fucking forever to get this interview done, which was entirely my fault. Anyway, there’s been a few updates since this interview took place- at the time of this writing, Goatphomet is on hold since earlier this year, and Nocturnal Damnation has acquired a new member, Patiwat (Zygoatsis, Masochist), a well-known figure in the Thai underground black/death metal scene. Also, Nocturnal Damnation released a split with Goatchrist666, “A Domination of Tyrant’s Necro-sodomy”, earlier this year through Inhuman Assault Productions.
Listen and support Nocturnal Damnation’s music: https://nocturnaldamnation.bandcamp.com/
Keep updated about Nocturnal Damnation’s music: https://www.facebook.com/OfficialNocturnalDamnation/
Check out Nocturnal Damnation’s official website: http://goatwar.egloos.com/
WULF: It seems like you’re in two bands right now, Nocturnal Damnation and Goatphomet. Tell us a bit about these bands. Also, why did you change the name of your old band, Adokhsiny, to Goatphomet? And what does “Adokhsiny” mean, exactly?
BESTIAL DESEKRATOR OF SEXUAL FORNICATIONS AND GOETIC RITUAL: Hails (Wulf)! It is a pleasure to do this interview with you. Simply saying, Nocturnal Damnation and Goatphomet are black/death Metal bands, but stylistically both bands are quite different. Nocturnal Damnation is bestial black/death metal influenced by Blasphemy, Black Witchery, Sarcofago, Beherit (old), Goatpenis, Naked Whipper, and Bestial Warlust, and Goatphomet plays ritualistic black/death similar to Goatlord, Archgoat, Teitanblood, Nocturnal Blood, Void Medication Cult, Sperm of Antichrist, Embrace of Thorns. The reason why I changed Adokhsiny’s band name to Goatphomet is because I wanted the name to be more black/death metal-sounding. I thought about it a lot, and it just wasn’t the style that I wanted even though I wanted to play black/death metal when I reformed Adokhsiny. As for the name, Adokhsiny means “Ancient Korean ghost name” (edit: I still don’t know what he’s talking about here)!
WULF: On all of Nocturnal Damnation’s records, the instruments are played by Infernal Saviour of Nuclear Onslaught and Warmageddon, from Spain. How did you meet this guy, and why did you decide to collaborate with him? As for Goatphomet, it looks like you’re in that band with fellow members Nuclear Vaginaliax and Rotten Clitorias Vengeance and H. Goatkommander. Are these current members Korean as well? The reason why I ask is because the former members of Adokhsiny were originally Koreans, but eventually the Korean members left and you were joined by members from other countries (such as Devoured and Tormentized from Malaysia, and Obispo from The Phillipines). How did you meet these guys? Wasn’t it difficult to write music with members in different countries?
BESTIAL DESEKRATOR OF SEXUAL FORNICATIONS AND GOETIC RITUAL: I remember that I knew about Infernal Saviour coincidentally. At that time I ran an underground label that he wanted to release his album through, and I thought this was a good idea. So I released two of his albums, and then we started to talk about many things. I asked him to help me with Nocturnal Damnation, and he agreed. That’s how we started recording together. So I think that the reason we worked together is because we wanted to help each other, but now he’s not in the band. Honestly, I don’t want to talk about Infernal Saviour because he’s not a member anymore. On the internet, there’s a lot of bad gossip or rumors about me and my band, so I don’t want to talk about him. As for Nuclear Vaginaliax and Rotten Clitorias Vengeance, he’s Korean, and H. Goatkommander is a member of the Peruvian black/thrash metal band Hell Torment. He helped me as a session musician on Goatphomet’s demo. As I told you, knowing about friends from other countries is because I ran an underground label, so I helped them with the releases of their albums. I wasted a few years seeking band members in Korea, so I gave up having Korean members. This is one of the reasons why I work with foreigners. There is some inconvenience working on music this way in Korea but I’m used to it by now, so it’s not that hard for me.
WULF: Obviously, you use dark and violent imagery in your music and artwork. How much of a role does Satanism or a belief in the occult play in your everyday life? Is there a specific philosophy or spiritual belief system you adhere to? At what point in your life did you begin to explore “the dark side of life” (the Left Hand Path). Finally, is there any literature of other non-musical art that you find particularly meaningful or influential?