"In certain circles, Full of Hell needs no introduction. This young band has made a name for themselves in a short amount of time, racking up a prolific touring and release history while exploring a gamut of sounds within the spectrum of extreme and avante garde music. Formed in 2009, the embryonic beginnings of Full of Hell display their palette at it’s most primitive, d-beat and blast ridden hardcore punk with spats of noise and caustic rhythm, and within a few short years, they have bloomed into a true force to be reckoned with within the punk and metal communities. Within the past two years the band has released their now acclaimed 2xCD collaboration with none other than MERZBOW himself, which showed the band truly beginning to come into their own, combining elements of grindcore, death and black metal, punk and hardcore with a smattering of sonically laden power electronics and industrial pounding. 2016 saw the release of their collaboration with the thundering and depressive duo, THE BODY, entitled “One Day You Will Ache Like I Ache”.. This acclaimed release was followed by a collaborative live tour, where the band bent expectations again in a whirlwind of electronic percussion and drone. 2017 will see the release of an as-of-yet untitled third full-length LP. Numb your mind."

Denver’s PRIMITIVE MAN’s music matches its name: a savage, sparse mix of death metal, blackened noise, and doom riffs. The threepiece was formed in February of 2012 by Ethan Lee McCarthy, Jonathan Campos, and Bennet Kennedy (all current and former members of Vermin Womb, Withered, Clinging To The Trees of A Forest Fire, Death of Self and Reproacher). In October of 2012 the band recorded their debut LP Scorn at Flatline Audio with Dave Otero (Cephalic Carnage, Cobalt, Catheter, CTTTOAFF). Scorn was released a collaboration between Throatruiner and Mordgrimm Records. After the release of Scorn, the band parted ways with Kennedy and recruited Isidro "Spy" Soto to take over on drums. The band also self-released a three-song EP in February titled P/M.     The unique metal hybridization of Scorn caught the attention of Relapse, who liked the record enough to sign the band and reissue the full-length in summer 2013. Dubbed a "totally malignant sounding record and one that will consume you whole if you’re not careful,” by Cvlt Nation and called “the best worst thing that has ever happened to you,” in an 8/10 review from Metal Hammer, Scorn found PRIMITIVE MAN celebrating a slow-roasted apocalypse through seven suffocating hymns of hatred, disease and sonic deviance. The record put the band on the map for many listeners, and enabled PRIMITIVE MAN to embark on a relentless touring schedule that would soon see the band playing live shows across the US and Europe (often for the vast majority of the year) in company with acts such as Hexis, Reproacher, Fister, Celeste, Opium Lord, and Mammoth Grinder. PRIMITIVE MAN also played Denver Black Sky in 2013 alongside Relapse brethren Dying Fetus, Exhumed, Skinless, Iron Reagan, Call of the Void, and Weekend Nachos.     All of Ethan McCarthy’s projects have been prolific, and PRIMITIVE MAN is no exception – the band released four splits between 2013 and 2015, and dropped another bombshell of nihility in 2015 with its Relapse EP Home Is Where The Hatred Is. The EP was well-received by publications including Metal Injection, MetalSucks, Revolver, and Exclaim!, the latter of who stated, “unapologetically bleak and permeated by loathing and hostility, Home Is Where The Hatred Is will either leave you wanting more or contemplating teetering off a ledge.” Despite their primeval, bludgeoning approach, PRIMITIVE MAN wouldn’t exist without their savage awareness of modern humanity: simultaneously old and new, atavistic and groundbreaking, PRIMITIVE MAN stands to redefine current conceptions of hope, faith, and metal music.

Eye Flys are a quintessentially Philadelphian band whose aggressive brand of noise rock is leading a wave of bands that harken back to classic era AmRep noise rock. Their rage is palpable and their wit is biting. Hailing from a city with a rich history of labor activism, long associated with the hard working, the underdog, the everyman. The trio's grounded nature, one of whom is an active trade union member, imbues their music with a distinctive fearlessness and honesty. Their acerbic wit swiftly whittles matters down to their element, often reveling in the perverse humor of our current state of being. Eye Flys are unsparingly heavy, driven by the colossal rhythm section of bassist Kevin Bernsten and drummer Patrick Forrest. Vocalist/guitarist Jake Smith delivers sharp humor with a healthy dose of venom and bile with each bestial growl while his dirty riffs roar at you. Recorded by Bernsten at his own Developing Nations studio (Full of Hell, Integrity, Jarhead Fertilizer) and J Robbins' The Magpie Cage, the band's self-titled album features artwork drawn by artist and drummer John Herndon (Tortoise), known for his singular drawings and his band's iconic TNT cover. Eye Flys wades deeper into the muck and mire of modern living to take an unflinching look at the horrors of late-stage capitalism and offer a caustic remedy for its ravages.Expanding on their bludgeoning debut Tub of Lard, Eye Flys is lean and aggressive, fast and unforgiving. «Trepanation Summer»'s ferocious riffs bore directly into the skull, mimicking the crude pressure release of the ancient surgical process of the same name, Smith crying to «release the pressure» from within a wall of feedback. «Sleep Forever» throws down a thrashing, infernal groove, demolishing all in its path as Smith's craggy guitar figures rise like toxic smoke from the devastation. «Draining Pus» revels in septic sludge, while «Bananarchy Zoo» manages to strip things down to an even more lean and incisive realization of the trio's punishing sonic palette, in an exploration of Smith's love/hate relationship with his Florida roots.A wall of rippling noise and distortion run as connecting threads through the album, the band's acerbic humor and raw emotion capturing the perspective and the frustration of the hardworking everyman. The band grapples with the repercussions of coping strategies with healthy skepticism and an eye on the gallows. Eye Flys offers a reassuring reminder that you haven't gone mad and you're not alone “ that weird à˜n' heavy music is still here as a respite from the madness of modern living and an outlet for righteous rage.