Saturday, April 20th

Godflesh will be the headliners of the 2013 festival with a very special performance. We are so elated (nearly speechless!) to be able  to announce that Godflesh — J K Broadrick and G. C. Green — will be joined by Robert Hampson (Loop, Main) to perform Pure in its entirety for the first time ever at Roadburn 2013, on Saturday, April 20th. The  lineup is the same as the one that recorded the album in 1992 and  hasn’t played a live show together in 20 years. For this reunion to  take place at Roadburn is a huge honor for us and we hope that it will  be an equal thrill for all you fans as well.

With the crushing Streetcleaner performance from the 2011 Roadburn festival still in mind, this show is gonna blow minds as Godflesh add Robert Hampson to their already potent sonic attack. Hampson is known amongst space rockers as the founder of Loop, a seminal band in recent psychedelic music that combined the sentiment of Kraut Rock with the guitar-driven sonic attack of bands like the Stooges and MC5. After becoming increasingly more experimental, Hampson ended Loop and formed Main, a group that became an extremely important fixture in experimental and ambient scenes while lasting for 16 years.

The reunion of this lineup is a huge surprise to those who follow Hampson, as he had given up playing the guitar altogether in favor of compositional elctro-acoustic music. His addition to the Godflesh lineup for the Pure album yielded a more focused, much more sonically intricate sound and propelled the album into history as a landmark of metal / industrial music.

Combined with Broadrick and Green‘s progression as songwriters and musicians, Godflesh created an extremely influential album in Pure, and Roadburn considers it a coup to be able to present the original lineup playing the album at Roadburn 2013.

Neige’s residency will lead into his main project, Alcest, performing the utterly majestic Les Voyages de L’âme in its entirety on Saturday, April 20th. As a child, Neige had dreams about a “Fairy Land”, a place with colours, forms and sounds that do not exist here. Highly influenced by these dream experiences, he created Les Voyages de L’âme with their inspiration. Les Voyages… finds him perfecting his songwriting, arrangements and production.These ever-evolving aesthetics find him moving further and further away from the buzzing blackness of his past, and in the process, Neige charts new musical territory with each passing release.

“Twenty-four years since their initial demise, Antisect are once again an active force. Always far more than just another rock ‘n’ roll band, their significance in the UK underground and beyond has never been fully acknowledged. As the years pass by more and more people are starting to appreciate their significance as a source of inspiration to many other bands and individuals, both lyrically and artistically.”

“Their message of individual freedom was as much liberating as it was inspirational back in the 80s when ‘Anarcho-punk’ really did seem to offer an alternative lifestyle. Whether they would have considered themselves Anarcho-punk is another story, but as with a lot of other bands and artists at that time, they carried their own torch through the bleakness of society. Early recordings show obvious influences and whilst the sound was killer raging hardcore punk, it wasn’t until the release of the seminal debut and only album In Darkness There is No Choice was released in 1983 that their true individuality was realised.”

“From then on they forged forward, always approaching their music with interesting twists and turns, and were certainly one of the heaviest bands that Britain had to offer. Their metallic edge and uncompromising lyrical stance had a huge influence on what would eventually become known as ‘Britcore’, a naff term adopted by the British music press towards the late 80’s. Unfortunately, the only recordings that exist from the post – In Darkness days are one 7” (Out From The Void) and a multitude of live soundboard recordings and bootlegs that have been in circulation ever since. Founding member Pete Lyons gives some straight talking answers on subjects relating to things past, present and future” — Lee Dorrian.

Ash Borer is one of the leading forces in U.S. black metal, combining an old-school sound with truly epic songwriting, like their Cascadian black metal brethren Wolves In The Throne Room. Their twin guitar work is particularly unique and compelling as they often maintain harmony while playing different progressions, and it is buttressed by furious and complex drumming.

In only 4 years, Ash Borer have managed to carve out an important path for USBM. While many of the early USBM bands have either run their course or veered into black metal fusion, Ash Borer has created a distinctive and relevant sound that manages to make colossal, labyrinthine songs that are completely true to the lo-fi necro black metal sound.

Their latest release, Cold Of Ages, is a great example of the band’s ability to incorporate chilling ambient passages and occasional influences of doom and drone into their songs while still identifying totally as black metal

Seminal Dutch death / doom pioneers Asphyx will be playing a special set of their slowest death / doom (only throwing in a couple buzzing, diabolical tracks for good measure).

Formed back in 1987,  Asphyx quickly established themselves at the cutting edge of the burgeoning death metal scene by way of releasing two immortal classics, The Rack (1991) and The Last One On Earth (1992). Well known for their absolute no-frills, authentic approach, the band’s massive slab of death/doom revolves around the legendary insane death roar of Martin van Drunen, underpinned by raw, crushing riffs and pounding doomy grooves swathed in an ominous atmosphere.

After the genre’s implosion back in the mid 90′s, Asphyx disbanded only to rise again for an unbelievably successful reunion show as headlining act at 2007’s Party.San festival in Germany. Further live shows followed, as legions of underground supporters were yearning for a proper comeback. With the release of 2009′s Death… The Brutal Way, the interest in ‘these living legends of old school death metal’ was bigger than back in the early 90′s when they carved the band moniker deep into the annals of death metal history.

By releasing 2012′s stunning Deathhammer (Century Media), the band is keeping traditional death metal as true, honest and thrilling as ever. However, especially for Roadburn Festival 2013, Asphyx will put emphasis on their most epic, crushing material, played with guts and balls, and which will guarantee pure death / doom rapture. Along the way, Asphyx‘ undisputable influence on many bands that have shredded Roadburn stages will become apparent as well.

Using clever guerilla tactics, Berlin’s very own Camera has taken Krautrock to the streets, making the magical achievements of German musical pioneers accessible to a wider audience. So far, more people have probably seen Camera live for the first time in a subway station in the middle of the night, or an underpass, or even a public restroom, as opposed to a conventional concert venue.

Camera loves to perform spontaneous and entirely unauthorized concerts in public spaces (to get an idea, check out the YouTube clips below). The trio set up their bare bones drum kit (snare, floor tom, cymbals and headless tambourine) and two amplifiers, plug in their guitars and synthesizer and off they go.

Camera’s vast musical topography includes lush valleys and foreboding ridges, crisscrossed with trails blazed by the likes of NEU!, Harmonia, Cluster and La Düsseldorf. Their sound can be right in your face with hard-driving motorik rock or somewhere way out in space.

The band’s debut album Radiate easily ranks amongst the finest releases of 2012 and successfully manages to capture their spontaneity within the confines of the studio, hitting a genuine Krautrock nerve. The audio quality is more or less the only clue that Radiate was not recorded at one of the band’s thrilling gigs.

Cult of Luna is a Swedish post-metal band from Umeå. After 5 years away, they will return to play Roadburn Festival on April 20th 2013 at the 013 venue in Tilburg, Holland. On October 5th 2012, they will announce some more news about what they have been doing, and what they have planned.

Milwaukee’s legendary and influential Die Kreuzen is set to grace the stage at Roadburn Festival 2013 for not one but two highly anticipated shows: the band will appear on Saturday, April 20th (main stage) and again on Sunday, April 21st (Afterburner) at the 013 venue in Tilburg, Holland.

Earlier this year, the band played their first hometown show in 20 years at the Lest We Forget benefit concert. Founding members Keith Brammer (bass), Dan Kubinski (vocals) and Erik Tunison (drums) were joined by Couch Flambeau’s Jay Tiller with original guitarist Brian Egeness’ blessing. We have been waiting just as long for them to return to Europe, and Roadburn considers it a real coup and a tremendous honor to present Die Kreuzen at the 18^th edition of the festival.

Fans of everyone from Syd Barrett and Van der Graaf Generator to Wire and Rush, the four Midwesterners were likewise captivated by the frenetic pace of the first Circle Jerks album. The result? The rampaging Cows & Beer EP, filled with breakneck riffing, tirades against jocks and screeching odes to boredom and self loathing. They toured like mad before taking a break to record their mind-blowing eponymous debut LP. Packed with 21 songs, it is a ferocious primer on hardcore done differently. Then it was time to pile back into the van for another two years of touring.

The next studio visit yielded the genre-defying October File. The noisy cerebral beauty sent plenty of punx running for the door, but open-minded headbangers, shoegazers and assorted other alt-rockers happily filled in any gap that might have otherwise appeared in the band’s following. By the time they dove into the more psychedelic, tripped out Century Days era, you could not pin down Die Kreuzen even if you tried. A point driven home by the thoughtful cover of Aerosmith’s ‘Seasons of Wither’ on the Gone Away EP released in 1989.

After Cement (1991), it was time to call it a day. As with every innovative underground band that ended up dissolving before “hitting the big time,” it is tempting to try to rewrite Die Kreuzen’s history. But why bother adding new chapters based on “What if…”? Sometimes it is best to accept the natural forces of entropy and just appreciate the legacy. Especially one as diverse as Die Kreuzen’s.

Today, it is clear that Die Kreuzen’s take on hardcore, punk and metal has been extremely influential on myriad bands. Unsurprisingly, at least three Roadburn curators put the band at the top of their wish list in hopes of a reunion. Thanks to their tireless efforts, Voivod managed to get Dan Kubinski to join them at this year’s festival.

Together, they treated the crowd to an electrifying version of ‘Man in the Trees’, which the metal pioneers from Quebec covered on Lean Into It – A Tribute to Die Kreuzen. We are thrilled to welcome Dan back for a full-on Die Kreuzen reunion with Erik, Keith and Jay. If their setlist from May is any indication, we are in for a real treat next spring.

Elder is the definition of a work in progress, as the group continues to meld the familiar sounds of Sleep‘s colossal riffage with their ever-evolving vision of soaring melodies and sonic soundscapes. Listeners will find themselves locked into the trio’s lengthy epics, which toe the line between the chasms of classic stoner metal and mindblowing psychedelia.

Since the release of 2010′s Dead Roots Stirring, their second full-length record for MeteorCity Records, Elder has continued to push their sound in more dynamic and inspiring directions, while still holding true to their original methodology: all heavy, no filler.

Ignoring almost anything that happened to rock and roll since the mid seventies, NYC’s lil ol’ bar band, Endless Boogie offers electric-blues drone and motorik-induced railroad rythms perfect for grinding hips and bobbing heads. Think Canned Heat, think Can, think Groundhogs, think NEU!…

Hear the authentic deep and long jams that seem to go forever, lock into the groove when the band keeps it going for 20 minutes, welcome that extra chord when they bump it up to four  — Endless Boogie’s hard rock snarl, Southern smoke and Krautrock stew boils and bubbles like none other! Both their albums, Focus Level and Full House Head will keep you moving to the boogie!

Esoteric by accident and occidentally occult through lack of foresight, British Empire’s Gentlemen’s Club of A Forest of Stars are a shabby collection of 19^th century vaudeville, classical and burlesque musicians, inspired by the teachings of the ages’ greatest writers, composers, artists and mediums. Their attempt to appoint a fusion of black metal, romanticism, the occult, psychedelia, folk and the improprieties of madness go directly (and some might say, deliberately) against the wishes of both Her Majesty’s Government and indeed fashionable society at large.

Their third and latest album, A Shadowplay for Yesterdays, follows the tragic life and times of one Mr Carrion Crow and his pitifully nefarious deeds as he journeys through the highways and byways of a universe populated by venomous villains, corrupt clergy and unrequited loves. It is a messy, highly-flawed exploration of peculiar denizens awash with violins, flutes, Middle Eastern percussion, dreamy synthesizers, doggerel verse, opium, claret, afternoon tea, cucumber sandwiches, base chants and grossly unprofound meanderings.

For the first (and possibly only) time at the request of this festival’s patrons A Forest of Stars will be performing their new album A Shadowplay for Yesterdays in its entirety, replete with the appropriate imagery, smoke, lighting and mirrors.

Hailing from the not-so-frozen tundra of Santa Cruz, California, Fell Voices manage to produce utterly chilling raw black metal despite their beach surroundings. Still extremely underground, Fell Voices are a viciously powerful 3 piece band with 2 full length LP’s (one self-titled, the other untitled) and a split with Ash Borer to their credit.

Fell Voices sound is totally unvarnished, part of the current U.S. black metal trend away from stylistic experimentation and focusing on furious, blasting black metal with excellent musicianship and extremely gritty production.

They use droning repetitive parts to creative a mesmerizing backdrop for their aggression and fury, with craftily hidden melodic changes to maintain interest over the course of their album-side length tracks. Last year’s Untitled release shows a definite growth in their sound and songwriting over their debut, promising more great things to come.

While closing the books on Pentagram and Place of Skulls in 2012, Victor Griffin invited drummer Pete Campbell to join him in the studio to record a new album. With no name, no members, and a batch of unfinished material… they cranked out 8 tracks in just under a week and Pete went home. But much was left unfinished.

An invitation was then extended to some of the best bass players around with Guy Pinhas, Ron Holzner, Greg Turley, Marty Swaney, and Dan Lively accepting.

Meanwhile, keyboardist Mike Puleo was making his contribution. Then with great enthusiasm… the timing was right for Jeff “Oly” Olson to join and bring the Hammond organ alive on the rest of the album!

So to this end, Roadburn 2013 will now deliver to you the debut heavy metal/blues thunder of Victor Griffin, Minnesota Pete Campbell, Guy Pinhas, and Jeff “Oly” Olson… onstage and In~graved!

Oakland, CA heavy metal juggernaut High on Fire will bring their brute force musicianship and thundering roar, anchored in an endlessly captivating, punkishly frantic sound to Roadburn 2013. This set will showcasing High on Fire‘s obsession with Motörheadish thrash, stunningly renderd on instant classics like De Vermis Mysteriis, Snakes for the Divine, Death Is This Communion and Blessed Black Wings.

Over two shows at Roadburn 2013, High on Fire, will show their groundbreaking evolution from psychedelic doom metal to the metallic speed demon the band is now. We couldn’t think of a better way to honor High on Fire‘s skyscraper levelling type of heavy metal as their body of work can be heart and felt  throughout many bands present at this year’s Roadburn.

Instead of relying on conventional songwriting structures, Sweden’s Hills takes inspiration from Coltrane’s jazz experimentation, the drone and repetitiveness of Velvet Underground and Can, adds the grimness of early death and black metal, and produces a throbbing wash of sound that rides wave after wave of heavily phased guitar, locomotive drums and insistent organ. In this largely instrumental soundscape, the occasional vocals become part of the rhythm section.

Heavily improvisational, Hills can go from electric, mantric and folky to utterly spaced out without any aural limitations. By turns, their Eastern influences come to the fore. Hills really do it to perfection, locking into an inescapable, all-encompassing, repetitive, hypnotic groove you never want to end. This is brilliantly captured on their sophomore album, Master Sleeps, which is nothing short of a contemporary masterpiece.

Hills are currently putting the finishing touches to their third album which will be released on Rocket Recordings early 2013. The album follows the grooved out psych kraut rock of Master Sleeps and mixes it with sounds reminiscent of the droned ragas of other Swedish greats like International Harvester and Parsons Sound.

Hailing from Kuopio, Finland, Jess and the Ancient Ones are currently making waves in the underground, drawing their inspiration from (prog)rock groups of the classic era and old school heavy metal.

For a more specific recipe for creating their self-titled debut album, take the overtly satanic sermons of genre progenitors Jinx Dawson (Coven), add the guitar genius of psych lunatic Roky Erickson together with Robbie van Leeuwen‘s (Shocking Blue) fuzzy pop sensibilities, stir in the rhythm and drive of vintage Iron Maiden, and top with a web of interweaving guitar duels influenced by the classic Smith / Murray partnership and deeply rooted in 60s and 70s prog and psych.

With talented vocalist Jess as their enigmatic frontwoman, the septet will take Roadburners on a devastatingly rapturous journey through the self, the astral and the arcane consummated by those transcendent vocals, and this trio of rich guitars.

If that doesn’t kindle your desire for a vociferous satanic ritual, we don’t know what will!

Originating from Sydney, Australia, heavy hitters Lo! follow bands like Old Man Gloom on their path down the dirt trail of crushing sludgy, noisy, blackened hardcore.

Heavy on thumping riffs, the band’s impressive debut album, Look and Behold (out on The Ocean‘s Robin Staps‘ Pelagic Records) garnered rave reviews the world over. Sporting an incessant sonic groove, the songs feature cleverly crafted creative melodies while maintaining an emotive and threatening edge.

Most of all, Lo! is intense in attitude and attack. Don’t be surprised if you get caught in a furious pit!

Mr. Peter Hayden‘s post-metal-infused space-rock is comprised of intertwining movements built from long progressive builds reaching cosmically thundering apexes heavily immersed in the vastness and darkness of deep space. This is melded with spacey ambience, which ventures off into impressive prog textures and vaguely-melodic synth wash punctuated by rhythmic chug and drum thud. Their excursions rise and fall tidally, offering minute wave-like undulations to coincide with the larger push and pull.

At the peak of their gargantuan cosmic improvisational powers — spectacularly demonstrated on both their debut full-length, Faster Than Speed, and this year’s sophomore album, Born A Trip — Mr. Peter Hayden‘s space opuses are devoid of the rushes of light and the sun drenched jams present in so many contemporary European psychedelic bands; instead they are all about cosmic travel deep in throes of brown acid!

Sweden’s My Brother The Wind will bring their improvised experimental psychedelia to Roadburn Festival 2013.  Led by Anekdoten‘s Nicklas Barker, the chemistry between Barker, Mathias Danielsson (guitars), Ronny Eriksson (bass) and Tomas Eriksson (drums) is really something special, as captured on their latest album, I Wash My Soul in the Stream of Infinity , recorded in only  4 hours during a cold Swedish winter’s night in 2011.

With the focus less on guitar solos and more on group virtuosity, the instrumentation is altered to create interesting and intricately layered rock soundscapes, seemingly influenced by King Crimson, Amon Düül II and Sweden’s seminal prog-pioneers, Träd, Gräs och Stenar. This particular influences serve in distinguishing My Brother The Wind‘s instrumental odysseys from the current crop of European jam-bands.

My Brother The Wind takes the best elements of improvised kraut and prog-rock, and once the spaceship has escaped the pull of Earth’s gravity, they drift into magnificent droning space rock and psychedelic orbits.

After toiling for a decade as a beloved underground band on a local label in a relatively remote country, Process of Guilt‘s latest album Fæmin (Bleak Recordings / Division Records) is earning them accolades the world over.

Musically, Process of Guilt offers a massive wall of guitar sound, intricate drumming and commanding vocals. The band’s sound is distilled from the same wellspring that fed Godflesh, which makes the timing of their Roadburn festival debut even more exquisite. The ferocious mid-tempo stomp verges upon industrial with undeniable hardcore influences, yet the band has been evolving long enough to avoid turning into a Neurosis clone. The riffs build up in such a colossal manner that we foresee a paroxysm of headbanging as soon as they hit the stage.

We’re very pleased to introduce Belgium’s very own Raketkanon (RKTKN). Raketkanon‘s debut album, RKTKN #1, is a combination of sludge, experimental drift and chaotic psychedelica. Think Melvins meets Tomahawk by way of early Butthole Surfers — down tuned guitars, deformed vocals and droney bass synths, coupled with an ear for great songs, make Raketkanon one of the most interesting bands in Belgium today.

Taking inspiration from sources as disparate as the 70s French prog of Heldon, the soundtracks of Angelo Badalamenti, the white-noise-shamanism of Skullflower and the psych-punk vortex of Chrome, London’s Teeth Of The Sea marry searing electronics, torrential riffage and cinematic atmospherics, in the process mapping out a mind-melting path between the garage and the cosmos.

Obsessions with science-fiction, trash culture and heavy amplification coalesced in style around their two albums thus far for Rocket Recordings, 2009’s Orphaned By The Ocean and 2010’s Your Mercury; reviewing the latter, Julian Cope asserted that Teeth Of The Sea ‘operate entirely within their own mythological mind map, their own specific & singular Weltanshauung. Epiphany after epiphany, brothers’n’sisters, that’s the shameless method this band deploys in order to enslave our minds.’

Teeth Of The Sea’s third album will be releasd on Rocket Recordings in early 2013, just in time for the band to lay waste to Roadburn. It’s destined to see them venturing yet further into unchartered realms of earth-shaking intensity and kaleidoscopic noise.

“Since 2010, The Cosmic Dead have been exploring the outer reaches of Krautrock, doom and psychedelia, tasting the extremes of sound and fusing them into a single, all-enveloping web of stratospheric riffing, otherworldly ambience and kosmische textures that has spread itself across countless shows throughout the UK, two full-lengths and a live collaboration with the king of Can, Damo Suzuki.

“For anyone who hasn’t yet stood before the Dead and their live homage to the cosmos, expect religious devotion to synthesised dreamworlds, subsonic grooves, guitaristic splendour and the vast, hypnotic sounds of Hawkwind and Popol Vuh eternally jamming in the Möbius strip of time and space” –David Bowes.

On Saturday, April 20th, The Devil’s Blood will perform their occult ceremonies acoustically for the first time ever at Het Patronaat.

Over the past five years, The Devil’s Blood have not only gained a huge cult following, the band have also been at the forefront of the burgeoning Occult Rock scene by setting a new standard for unearthing the roots of proto-metal as laid down by their unholy forefathers, Black Widow and Coven. The Devil’s Blood‘s creative range includes a visionary blend of dusty psych-garage-rock, ’60s psychedelica, acid-folk-rock and even horror soul, underpinned by beguiling triple guitar harmonies and dripping with obsessively detailed Satanic ritual.

The head-spinning diversity of The Devil’s Blood cult (and occult) has been captured on the Come Reap EP, The Time of No Time Evermore and 2011′s stunning The Thousandfold Epicentre, all of which offer up a golden balance between the band’s forceful danger, but also a sublime, demonic melancholy that guides its audience toward the left hand path.

Thriving on experimentation and ambition, The Ocean, led by Robin Staps, have managed to sonically outdo their obvious influences by adding their own, unique details to the ear-crushing metal meets post rock hybrid sound.

What sets The Ocean apart is the cohesiveness of albums including Precambrian, Heliocentric and Anthropocentric along with Staps‘ ingenious songwriting. The transitions between divergent styles consistently sound smooth and natural as opposed to sudden and forced.

From metallic bombast to proggy-sludge-score, and from art rock to expressionistic doom, jazz, ambient, electronica and even conventional chamber music, The Ocean runs the gamut of genres like no other.

Without question, The Ocean is one of the most artistic and forward thinking post-metal bands on the scene today.

Former Nagelfar drummer and main songwriter Meilenwald has pushed the boundaries of black metal like no other before him, creating a unique musical landscape firmly rooted in classic black metal, but underpinned by grimy doom, swampy dirges, churning industrial music, arrays of ambient / experimental passages, and most surprisingly, occasional strains of melodic pop.

The Ruins of Beverast‘s haunting but also sinister albums (Unlock The Shrine, Rain Upon The Impure and Foulest Semen of A Sheltered Elite), deliver exotic, otherworldly music founded on plodding blackened doom. But that starting point is then exploded into shards of brain-rending shrapnel that is rife with unexpected leaps into extremely complex operatic or symphonic passages interspersed with interludes of ambience and heart-wrenching melodies. The variety and inspiration of these musical / artistic masterpieces makes them a must have for all fans of blackened-doom, as well as those in the vanguard of avant-garde music.

As a mythological symbol, the ruined bridge of “Bifröst” — the original ancient nordic expression for the old German word “Beberast” which Meilenwald modified to Beverast — symbolizes the end of the world, and the lyrical content of The Ruins of Beverast reflects a bevy of related interests that include religion, ancient warfare, and even science fiction.

The Ruins of Beverast has been a one-man, studio project so far. In what we consider a real coup, The Ruins of Beverast‘s Roadburn performance will feature a full band backing up Meilenwald‘s much acclaimed vision. We simply can’t wait to welcome The Ruins of Beverast to next year’s festival.

We are very pleased to welcome Texas riffmasters Wo Fat on Saturday, April 20th, 2013 with their blues-infused version of psychedelic doom. Tearing through the speakers like a swamp monster summoned from some dark cosmic morass, they rose from the deep and began their psyche-doom-adelic quest in 2003, with the goal to make music that remained within the paradigm forged by Black Sabbath, Hendrix, ZZ Top and the other greats of the 70′s, but that was also crushingly heavy and at the same time stayed true to the haunting blues that moan and wail deep within their souls.

Through their sonic journeys, they have managed to find a compelling balance between monolithic, cyclopean riffing and spaced out, psychedelic jamming. Structure and improvisational freedom being equally important elements to their music.

Three albums and nine years later, Wo Fat has joined the Small Stone Records roster and is offering up a new epic album, The Black Code, which contains five hefty slabs of classic Wo Fat analog fuzz, but this time with a more sci-fi related motif, full of cyber-visions of evil code and premonitions of digital horror and is maybe their heaviest work to date. It’s heaviness in groove, sound and feel as well as riff. This is organic, earthy metal. This is a pure, expertly cultivated, homegrown strain of Texas riffage.

Roadburn Festival 2013 will run for four days from Thursday, April 18th to Sunday, April 21st, 2013 (the traditional Afterburner event) at the 013 venue in Tilburg, Holland.