For the beginnings of DEATH YELL must go back to the end of 1986, when Andres Herrera and Andres Lozano - a couple of classmates - decided to take guitars and started playing covers of bands like Metallica and Exodus. Several bears and the occasional vocalist joined them occasionally, but none stayed long enough in the group ... It was not until late '87 that Patricio Diez joined on drums and began to shape the basis of what would Pestilence (the name under which the group debuted in a school festival, playing the theme Motorbreath Metallica) ... over time, the riffs are pretty and accelerated course covers were changed to a more aggressive line: Slayer, Possessed, Kreator, Death
Several tests later - and as many vocalists and bass players too, who could not withstand the speed and strength of the group, actually said was killed by bad after each test! - Base and the trio was finding its own identity, in a style close to the most aggressive and brutal death metal and particularly characterized by very fast and unexpected changes of pace, which was the fundamental characteristic of the contribution of the first DEATH YELL Death Metal wave in Chile. The group pioneered a style little known at the time and I literally flew the top of his head, his technique, speed and piercing voice! - Were just creating grindcore bands (remember Slaughter Lord among others, which were very underground at the time)
Since the mid-'88 Felipe Allende joined on bass and Sergio Arenas in his voice, both from the old school heavy metal, a fusion of different styles perfect fit ... particularly the voice of Cookie, and it was not the typical death metal voice - which had almost all the known bands of the time - it sounded like screams of terrible suffering, while being shot !!!... the final line up was complete and the name was changed to DEATH YELL.
The debut of the band with this line-up was devastating. Were invited to open a concert that brought together several bands thrash, punk and death metal ... The group had an immediate connection with the public, displaying an unusual level of energy for a support band ... I remember the group opened with the cover "Thy Kingdom Come" the first demo of Morbid Angel ... was simply overwhelming! ... Pato in that first concert was officially re-christened as bullet (bullet) for the other bands and DEATH YELL began to talk in the Chilean underground!. Thus
followed DEATH YELL concerts and quickly went from group's opening act at one of the top names in the underground scene, making consolidation as big band and disclosure for deathbangers Chileans. It is probably worth mentioning that these were not the best concerts in quality of tone and technique, but were certainly the highest note in the deployment of energy and passion on stage ... the audience really enjoyed DEATH YELL, by which time the cover of Morbid Angel was forced each gig feature! ... was also very typical to see the biscuit up and down the stage during the concerts, to share a drink (or maybe several!) with fans, while the remaining members continued relentlessly destroying brain ... even sometimes the band could hardly play because the fans literally rushed the stage to do headbanging along with members of the group!
Between the years '88 and '89 the group created a very good friendship with other bands, putting together with Atomic Aggressor, Sadism and Darkness among others, the foundations of the legendary death metal underground scene of Chile. These groups played on average every two weeks in vivo, most often in the now defunct Sala Lautaro in Santiago, but also occurred in other cities of Chile, Valparaiso, Villa Alemana and Design ... One of the concerts that are worth mentioning is the Morbid Rites I and one of the first concerts that brought together only death metal band and created the tone for what would become the Death Metal scene in Chile. Morbid Rites The name was later associated with the sound of DEATH YELL - as brutal and sinister - in fact the first demo of the band was self-produced and distributed under this label.
withdrawals are aware that some "spiritual" for several days at San Jose de Maipo and Codegua helped seal the brotherhood and good vibes that existed in the band ... testing, alcohol and hallucinations were mixed in these sessions and inspired the final details to complete the topics that would be recorded later in the study - these test sessions are known as "Vengeance from Darkness pre-sessions."
The first (and only) demo of the band is the fusion of two recording sessions, which initially would be distributed in the form of two demos, but eventually the group decided to put together and deliver an excellent production by both the Jackal graph, and the quality of sound achieved.
The first group of subjects was recorded at weekends from August 1988, including: Obssessed by the Vision, Confessions after Death, Pain and Fear Days and sinister intro that gave title to the demo, Vengeance from Darkness. The second group of songs was recorded in a few days of October the same year: Heavenly Injustice and Victim or Hangman.
The demo showed Vengeance from Darkness the band as it was, raw and brutal, with DEATH YELL was impossible to have an intermediate position, or loved or hated. The group gave a demo on subjects as diverse as originals, showing that it is handled with different styles, with tons of rhythm changes, a rather complex base of excellent guitar riffs, a battery extremely fast and growled vocals and heartbreaking, even given afford to include some new features for the era, including the use of keyboards on some tracks with angelic voices combined with heavy guitar riffs ... gave the impression that the entire demo was possessed.
Even the cover of the demo gave a lot to talk at that time, an angel impaled on an inverted cross. Chicken created a cover as crazy as shocking for its time, in a fairly cartridge and repressed, ruled by the military dictatorship dominated by the view of the church. This image led many to brand the band satanic. DEATH YELL always played with the images of the eternal battle between evil versus good. Using metaphors, his lyrics describe situations quite real and contingent ... own experiences both as created by the sick imagination of its members.
In short, the demo was released in December 1989 and was well received by the public and underground magazines, and became one of the most prominent and preferred by deathbangers. Sold about 2000 copies, which was a very important figure for a style as jackal at a time without the Internet, in which the exchange and dissemination of films was done hand in Hand.
This demo allowed to start the band released internationally, some subjects were subsequently re-released on vinyl 7 "by Seraphic Decay Records (USA) and Turbo Records (Germany), which produced a split with Beherit. These vinyls have become true cult pieces, very rare and difficult collection today. Later Turbo Records also released the CD bootleg "Triumph of Death", bringing together bands Acheron, Samael, Carcass, Mortuary, Beherit and Death Yell. While the seal was not never authorized by the group, this CD helps DEATH YELL became more known internationally.
At that time the group began to talk to a couple of labels to record an album, as well as outlining the possibility of playing live in Peru and Brazil ... DEATH YELL seemed had much to deliver even ... However
everyone in the band had also other parallel interests, some occupied with finishing his studies and others preferred to alcohol or drugs. The difference ended up alienating members of the group no longer shared the same tastes, apart from the concert (which was at the end the only thing between us), the most sooner or later ended with the desire to stay together and all projects were thwarted. Between studies and parties there was no time for testing or to compose new songs really ... DEATH YELL
While a band was short-lived and little published material, no doubt left an important mark and was one of the pillars of the Chilean underground metal scene because they say, also internationally (several groups even death and black metal DEATH YELL cited as one of their influences). A group of friends eager to do what they liked, ambition was thwarted for various reasons.
(SOURCE 666 BARRY like the photos in the album)
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