| In the 1980s, South America produced some of the most legendary extreme metal in the genre’s history. While the renowned Brazilian scene undoubtedly cast a long shadow, like-minded maniacs in countries like Colombia and Chile were simultaneously forging their own brand of black/death metal. Among the pioneers of the Chilean scene, DEATH YELL stands out as a founding group—and NWN! Productions is proud to present an official reissue of their legendary 1989 demo, Vengeance From Darkness.
Formed in 1988 in Santiago—following a brief stint under the name Pestilence—DEATH YELL delivered thrashing death metal with manic intensity. Their sound was clearly influenced by Brazilian icons such as SARCOFAGO, SEXTRASH, and MUTILATOR, infused with a punk energy reminiscent of EXTREME NOISE TERROR and the UK grindcore scene. Instrumentally proficient and sonically violent, DEATH YELL created a sense of controlled chaos, blending their deathrash roots with a macabre, funerary atmosphere that included sinister, lurching organ work.
Vengeance From Darkness was self-financed and self-released by the band as a cassette, gaining legendary status in the global tape-trading underground. The demo’s prestige led to some of its tracks being reused for a split 7" with BEHERIT on Turbo Music in 1991, followed by the Morbid Rites 7" on Seraphic Decay Records in 1992. The band would remain dormant until their reactivation in 2012.
The reissue of DEATH YELL’s material was condoned by guitarist Andres Lozano (aka Pollo) after a chance encounter with NWN! Productions founder YK in the 2000s. Vengeance From Darkness was first reissued on vinyl as part of the 2007 Morbid Rites compilation, and again as a limited picture disc for NWN! Fest Vol. V—coinciding with DEATH YELL’s first and only European performance. Both editions are now long out of circulation.
While countless bands have since drawn inspiration from the South American scene of the '80s, Vengeance From Darkness remains a primary source—showcasing the power and inimitability of DEATH YELL’s contribution to the genre.
—P. Lautensleger
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