68 pages; A4
colour; colour printed cover
Interviews, Reviews and Bios
September 2026
Another physical artifact has been spewed forth from the subterranean crypts of South America, to challenge the soulless, lazy, and shallow informational garbage of the digital age. Necromancy fanzine, publishing as a printed fanzine was initiated back in 2013, and now this third issue arrives not as a fleeting click on a glowing screen but as one blood pact grimoire of printed propaganda designed to crush the sanitizing tentacles of the modern world. Crafted and enduring with iron willed determination by editor and instigator Seth Nekromancer from the enticing depths of Buenos Aires, Argentina; this zine spans 68 dense pages written entirely in English, featuring some estimable forces of Black Metal and extremities, from and beyond enticing South America. And, with just a quick look reveals a zine forged to honor the old ways through ink, paper, and pure DIY devotion. The staunch, tried and true spirit of editor Seth Nekromancer and Co. continues this defiance, offering a solid response to an era dominated by clickbait and algorithm driven soundbites. In that sense this issue serves as a hellbent commitment, preserves the essential spirit of the underground, and something that remains firm against commercial dilution.
More glances into the pages reveals an editorial layout, as if constructed as a visual weapon against modern and sterile digital slickness. For that, Seth and Co. have chosen the most reliable weapon: a claustrophobic, high contrast black and white layout that deliberately rejects clean grid alignments in favor of raw, cut and paste collage aesthetics. The layout radiates raw DIY hostility, pressing dense text against jagged borders, heavy photocopied grain, and grotesque occult illustrations. Here, decaying band logos bleed heavily into the margins, and when viewing a PDF scan, one can practically imagine the intoxicating scent of fresh printer ink emanating from the heavily saturated pages. This aesthetic will resonate with anyone who values the golden era of 80s and 90s tape trading zines. These features make the zine a visually engrossing labyrinth of ink and shadow, which seems to be created purposefully and carefully to mirror the uncompromising music featured within. It should be enough to compel any old or new fanatic reader to physically navigate its depths rather than passively swipe through some meaningless feeds. Beneath this aggressive visual exterior of the zine, there lies an immense depth of journalistic effort where the inquisitorial process spares no one. Instead of brief promotional Q&A’s and typical press junket questions the zine features exhaustive, multi-page interviews that feel like honest conversations between scene veterans and enthusiasts. It’s reminiscent of the meticulously studied, free flowing and philosophical style of Bardo Methodology zine, that abandons mundane album cycle questions to extract raw ideological manifestos. The zine featured interview and review of bands like, Caixão (Portugal), Strigoi (Chile), Crocell (Colombia), Ouija (Spain), Predica Noctis (Argentina), Leviathan A.C. (Venezuela / Spain), The Satan’s Scourge (Colombia/Argentina), Capa Preta (Brazil/Portugal), Zweihander (Chile). Moreover, Artes Negras Zine Compilation, featured quite an exhausting list for Uruguayan bands; and, Morbid Faith Newsletter Issue Section features, Tumba, Tungsten Axe, Black Goat, Artilleros 693, Hellavenger, Infernal Destruktor. Not to mention but rather to keep the surprise the review section got hold to possess readers and one bound to find some truly expectational records out of sight.
The descent with Chile’s Strigoi, examining how nocturnal isolation feeds their bleak, dungeon drenched Black Metal. It depicts the vivid picture of these artists operating entirely in the shadows by their own design and sheer willpower. The standout piece on Portugal’s Caixão delves deep into how ancient Phoenician and Canaanite mythologies shape their oppressive Death/Doom sound. Spanish veterans Ouija look back on their career, reflecting on their commitment to uncompromising and cathartic Black Metal. Something the band earned over their three decades of existential plight and legacy. The feature on Colombia’s Crocell dissects their dissonant sound, proving South America remains an epicenter of unadulterated darkness and technical malevolence. This uncanny march wades deeper into the absolute extremes of sonic violence and spiritual warfare. The zine captures the violent resurgence of Leviathan A.C. (originally formed in Venezuela in 1999), closing the issue on a note of pure Black Metal hostility. Moving from there, the feature on Brazilian Predica Noctis, explores their medieval raw Black Metal through an antimodernist lens, where crude and lo-fi aesthetics are celebrated, and arguing for the preservation of unpolished Black Metal.
The pages ignite further with the filthy war death chaos of Satan’s Scourge, whose interview matches the primal barbarity of their riffs. Equally terrifying is the deep dive into the Quimbanda necromancy summoned by Brazil’s Capa Preta, exploring the dangerous intersection of authentic spiritual darkness, ritualistic magic, and extreme expressions. These are not standard promotional Q&A’s, but fierce transmissions from the front lines of an eternal war against the establishment.
As in pages 25–26, which feature a standout account from Leviathan A.C. recounting their South American tours (Medellín, Bogotá, Pereira, Cúcuta) and highlighting a visceral and illegal performance held in the damp vaults beneath a Catholic church in Girón, Colombia (awe-inspiring!?) With wiring amps to stolen power sources, the band unleashed sonic blasphemy inches below that sacred ground. It serves as an ultimate metaphor for underground rebellion reclaiming religious strongholds from the inside out in the highly tumultuous terrains of South America. Just imagine the atmosphere of that live performance underneath the church and get bewitched. Furthermore, attentive readers will find that the inner architecture of Necromancy III also functions as a detailed map for global underground logistics, dedicating substantial estate to the unsung guardians of the physical resistance. As stated earlier regarding Uruguay’s Artes Negras Fanzine, the radical Morbid Faith newsletter, the death bunker of Profaner Records, the resurgence of veteran vanguard VM-Underground Fanzine, and the defiant European resistance of the Hard Metal Jackhammer Radio Show.
The issue concludes with a sprawling section of razor-sharp record reviews written with the discerning and merciless pens of true fanatics and devotees. No modern, overproduced garbage is spared; releases from bands like Zweihander and legendary Brazilian masters of decay Impurity, are dealt with an uncompromising standard. Finally, at the dead end, the shocking cover artwork in the backside of the zine is a visual reminder again of what you have just gone through, and it can be provoked for another go. It must be mentioned specially that how this zine dedicated so much space to labels, distros, tape traders, and channels, and proves again that no matter the uphill struggles or out of sights, an unyielding inner circles and networks will keep on stands firm against commercial dilution; offering a vital commune for maniacs supporting the living underground.
As a minor point of constructive feedback, across the pages a better paragraph and font balance could ensure far smoother visual transitions in viewability. Yes, it’s amassed within just 70 pages but that doesn’t diminish the overall experience anyways. Yet with a little tweak in that mentioned matter, would enrich the visual and reading experience in future issues. Having uttered all these, this is certain that this issue of Necromancy Fanzine delivers a valuable physical artifact for anyone who values the uncompromising spirit of the metal underground. Necromancy Distro currently offers 666 copies of this edition, and one should get hold of this, and start reading until get finished while playing Predica Noctis, to call in the proper atmosphere.
