Our tribute to all those bands that in the mid and late 90s created an autochthonous genre, "Celtiberian Black Metal". Distancing themselves from Viking metal, those groups permeated the national scene with their own identity based on the beliefs of the native peoples of ancient Iberia, their lyrics bring us closer to Celtiberian mythology, legends, heroes, gods, epics, nature, customs, rites, Iberian landscapes and the paganism of our pre-Roman culture.

Influenced by Norwegian and Polish black bands, the "barbarians" Nazgul was born in Madrid back in 1995 by the hand of its founder Defernos and the guitarist Thorgul, an emblematic reference band that defined the concept and was one of the germs of the later bands of "Celtiberian Pagan Metal".

In parallel, the Cantabrian Erun Dagoth creates a melodic and epic Death / Black musical project with Celtic Folk elements called CrystalMoors, whose themes breathe history - the Cantabrian wars for example -, mythology and nature of Cantabria - over time and outside the ranks of Crystalmoors, Erun creates a very interesting solo project called Briargh, straddling epic fantasy, paganism and Celticism. In 2018 they joined forces with the Hordak band - we who do not come from the BM, but from the power of Manowar, Running Wild, Blind Guardian or Helloween, we have discovered them with "Father" and they have conquered us! - to create the split "Árguma / Ophiusa ". Within this cultural paganism they have shared stages with bands of neofolk and dark folk roots, whose compositions sink in ancestral folklore and the magical beliefs of the Iberian peoples, such as Keltika Hispanna whose Black / Death influences are appreciated for example in their album "Terror Romanorvm ".

In this CBM tour we have come across hundreds of bands that have dealt with pre-Christian Iberian autochthonous cultures such as Aiumeen Basoa (1994), Numen (1997), Lux Divina (1998), Berserk (1998), Nakkiga (1999), Cyhiriaeth (2000), Omendark (2001), Carcharoth (2002) or Forestdome (2002).

Therefore, this small design is used almost in crude, to remember this genre and those bands that have raised and carried the flame of the spirit of the pre-Roman peoples of Iberia.

Our tribute to all those bands that in the mid and late 90s created an autochthonous genre, "Celtiberian Black Metal". Distancing themselves from Viking metal, those groups permeated the national scene with their own identity based on the beliefs of the native peoples of ancient Iberia, their lyrics bring us closer to Celtiberian mythology, legends, heroes, gods, epics, nature, customs, rites, Iberian landscapes and the paganism of our pre-Roman culture.

Influenced by Norwegian and Polish black bands, the "barbarians" Nazgul was born in Madrid back in 1995 by the hand of its founder Defernos and the guitarist Thorgul, an emblematic reference band that defined the concept and was one of the germs of the later bands of "Celtiberian Pagan Metal".

In parallel, the Cantabrian Erun Dagoth creates a melodic and epic Death / Black musical project with Celtic Folk elements called CrystalMoors, whose themes breathe history - the Cantabrian wars for example -, mythology and nature of Cantabria - over time and outside the ranks of Crystalmoors, Erun creates a very interesting solo project called Briargh, straddling epic fantasy, paganism and Celticism. In 2018 they joined forces with the Hordak band - we who do not come from the BM, but from the power of Manowar, Running Wild, Blind Guardian or Helloween, we have discovered them with "Father" and they have conquered us! - to create the split "Árguma / Ophiusa ". Within this cultural paganism they have shared stages with bands of neofolk and dark folk roots, whose compositions sink in ancestral folklore and the magical beliefs of the Iberian peoples, such as Keltika Hispanna whose Black / Death influences are appreciated for example in their album "Terror Romanorvm ".

In this CBM tour we have come across hundreds of bands that have dealt with pre-Christian Iberian autochthonous cultures such as Aiumeen Basoa (1994), Numen (1997), Lux Divina (1998), Berserk (1998), Nakkiga (1999), Cyhiriaeth (2000), Omendark (2001), Carcharoth (2002) or Forestdome (2002).

Therefore, this small design is used almost in crude, to remember this genre and those bands that have raised and carried the flame of the spirit of the pre-Roman peoples of Iberia.

Our tribute to all those bands that in the mid and late 90s created an autochthonous genre, "Celtiberian Black Metal". Distancing themselves from Viking metal, those groups permeated the national scene with their own identity based on the beliefs of the native peoples of ancient Iberia, their lyrics bring us closer to Celtiberian mythology, legends, heroes, gods, epics, nature, customs, rites, Iberian landscapes and the paganism of our pre-Roman culture.

Influenced by Norwegian and Polish black bands, the "barbarians" Nazgul was born in Madrid back in 1995 by the hand of its founder Defernos and the guitarist Thorgul, an emblematic reference band that defined the concept and was one of the germs of the later bands of "Celtiberian Pagan Metal".

In parallel, the Cantabrian Erun Dagoth creates a melodic and epic Death / Black musical project with Celtic Folk elements called CrystalMoors, whose themes breathe history - the Cantabrian wars for example -, mythology and nature of Cantabria - over time and outside the ranks of Crystalmoors, Erun creates a very interesting solo project called Briargh, straddling epic fantasy, paganism and Celticism. In 2018 they joined forces with the Hordak band - we who do not come from the BM, but from the power of Manowar, Running Wild, Blind Guardian or Helloween, we have discovered them with "Father" and they have conquered us! - to create the split "Árguma / Ophiusa ". Within this cultural paganism they have shared stages with bands of neofolk and dark folk roots, whose compositions sink in ancestral folklore and the magical beliefs of the Iberian peoples, such as Keltika Hispanna whose Black / Death influences are appreciated for example in their album "Terror Romanorvm ".

In this CBM tour we have come across hundreds of bands that have dealt with pre-Christian Iberian autochthonous cultures such as Aiumeen Basoa (1994), Numen (1997), Lux Divina (1998), Berserk (1998), Nakkiga (1999), Cyhiriaeth (2000), Omendark (2001), Carcharoth (2002) or Forestdome (2002).

Therefore, this small design is used almost in crude, to remember this genre and those bands that have raised and carried the flame of the spirit of the pre-Roman peoples of Iberia.

Inseparables. Images of the works of George M. Gould and Walter L. Pyle in "Anomalies and Curiosities of Medicine" (1900), in the works of Lemery, Winslow, Morand, Petit, Bordelon and Vicq-D'Azir "Bound volume of 15 teratology offprints from the Memoirs of the Royal Academy of Sciences "(1693-1776) and in the work" Monstruosités "II (1833) on the Siamese Rita and Cristina.

Stefano della Bella's work entitled “Death on the Battlefield” from “The Five Deaths” (1650-1664)

And I looked, and behold a pale horse. And his name that sat on him was Death, and Hell followed with him… says Saint John in The Apocalypse 6, 7-8

Xylography by hans wechtlin called "the man with the wound" (1517)

Engraving by Alfred Rethel called "Death as a Assassin” 1851.

Anonymous work entitled "The dance of death". Germany. Century XVI.

Grabado de Gustave Doré llamado "Apocalipsis: Visión de la muerte".

“Y miré, y vi un caballo amarillo (pálido); y el que lo montaba tenía por nombre Muerte, y el Hades lo seguía; y les fue dada potestad sobre la cuarta parte de la tierra, para matar con espada, con hambre, con mortandad y con las fieras de la tierra.”

(Apocalipsis 6:8)

Engraving by Bernardino Genga, which is included in his work on anatomy: "Anatomia per Uso et Intelligenza del Disegno" (1691)

Work by  Cornelis Anthonisz. 1537

Work by Albrecht Dürer entitled "Death and the Landsknecht" (1510)

Series of engravings made by Hans Holbein around 1523 and collected in his famous work "The Dance of Death" where he shows the conquering and equalizing power of death before all human beings.

Series of engravings made by Hans Holbein around 1523 and collected in his famous work "The Dance of Death" where he shows the conquering and equalizing power of death before all human beings.

Series of engravings made by Hans Holbein around 1523 and collected in his famous work "The Dance of Death" where he shows the conquering and equalizing power of death before all human beings.

Hyperborea was one of those lost continents like Atlantis, Lemuria, and Mu that is believed to be located in the Arctic regions. Along with Tule, it was one of several terrae incognitae of the Greeks and Romans. People were said to live to be a thousand years old and to enjoy lives of complete happiness.

This mythical place full of legends, immortal beings and demigods, has been considered as the polar center of civilization and spirituality of the Golden Age.

Hyperborea has been extensively referenced in literature, from Joyce's Ulysses to the works of the Three Musketeers of the Weird Tale: Clark Ashton Smith in his Hyperborean cycle connects with the literature of HP Lovecraft (with whom he shared a great affinity) and the Cthulhu myths. And good old Robert E. Howard used the name Hyperborea (the first kingdom to form after the destruction of Thuria) as part of the geography of the literary universe of Conan the Barbarian.

In 409 the first Germanic invasion took place in the peninsula, Swabians, Vandals and Alans entered Hispania. The Arian Visigoths, with Alaric in command, sacked Rome (410) and headed, led by Ataulfo, towards France and Iberia. After the fall of the Western Roman Empire (476) and the great defeat of Vouillé (507), the Regnum Gothorum of Tolosa fell, which definitively displaced the Visigoths towards Hispania. There is a rapprochement between the barbarian Goths and the civilized Roman aristocracy. Confrontations, friendship and alliances that favor the birth and formation of Regnum Gothorum and the strengthening of the Hispano-pagoda monarchy of Toledo. Leovigildo will be the true organizer of the political unity that seeks the fusion between the Hispano-Roman and Gothic populations. His son Recaredo will achieve the desired legislative and religious unity in the III Council of Toledo (589), and his descendants will settle the Regnum Hispaniae with the territorial unity...

Today we bring Eros, as a mediator of initiatory paths, but do not confuse them with the paths of the metaphysics of sex, as a form of conquest, liberation and empowerment in a couple who travel the alchemical and hermetic path of the left hand, which in a The future will undoubtedly give a great design on sexual magic and androgyny in the primordial race, today we just want to make a small approximation to sexuality in the ancient Greek world.

To say of the Greeks that they were neither homosexual nor heterosexual as we understand it today, the thing happened differently. We cannot approach gender and open and free sexuality in Greek Antiquity with the current modern parameters, with prejudices of a puritan or Judeo-Christian mentality. Let's say that the Greeks were something like "heteroflexible" - today we would say bisexual - although this was not exactly.

Ancient Greece was, in addition to the cradle of democracy and Western philosophy, a society dedicated to the cult of beauty and the body as an expression of values ​​closely related to areté (virtue), with the perfection of the universe and the perfect proportions of the gods — the more like them the more you were blessed. Her ideal of beauty was masculine, this is so. The representation of the naked female body was reserved, almost exclusively, for the worship of divinities associated with human or earth fertility - there we have the goddess of love Aphrodite - and the erotic scenes reproduced in symposia glasses. The woman in general was subordinate to the superiority of the male and beautiful women were often seen as femme fatale, dangerous women, remember the Greek tragedy with Helen of Troy and Medea.

Sexual relations were directed either to perpetuate the species (legitimacy, inheritance, lineages) within the fundamental institution of marriage for the Greeks or to satisfy masculine needs - both with women, slaves, prostitutes and hetairas who, unlike Of the pornai, they were those free culturally and intellectually prepared “company ladies” whose opinions and beliefs were highly respected by society and who participated in Greek symposia, also offering dances, music and conversation of a level—, and not always as complement of love - although it is true that there were couples who loved each other, especially before marriage - because that spiritual stage did not usually transcend with a woman, and love as sex between two men was considered a higher experience than anything it had to do with sexual deviations or depraved acts.

Homosexual relationships - infrequent in women, perhaps due to lack of documentation, the representation of the poet Sappho of Lesbos comes to mind - did not alter the social status or prestige of the people, the encounters between two men were oriented towards training of young people, as a pedagogical practice, a preparation for virility as an incitement to adulthood, never contemplated in the family life that was the fundamental center of society. Eraste and Erómenos, mature (active part) and experienced in "spiritual greatness" with a protective mission, taught their lovers, the young (passive part) to improve, overcome, know how to govern, indoctrinate themselves in the life of the military ... gifts that would serve them to his entire life, in return the ephebo offered his beauty and his commitment, in a friendship that was forged by fire. The Platonic ideal was a non-carnal spiritual relationship, although Greek art, as we have represented, shows us these physical relationships (where the virtue and strength of the mature man was transmitted to the young man through different sexual acts). For this reason, relationships between young people who only sought mere physical pleasure were socially rejected — just as frowned upon were relationships that were perpetuated between older adults.

Obviously with this design we do not want to apologize for anything, much less offend or degrade anyone. Here is simply that we have collected images of vessels and ceramics as a graphic sample of sexual conception in Ancient Greece, seen with today's eyes, they will say freer in many aspects and more degrading in others, in any case just show a vision ancestral normalized in the Hellenic world.