Cancel culture is the withdrawal of support, be it moral, financial, digital, and even social, from those people or organizations that are deemed inadmissible for their comments and actions. Those, those or "those" who transgress the new established order. The perfectly orchestrated trolls and bots to boycott and stigmatize the heretic. Everything fits here, we have all seen the virtual lynchings of those who criticize the system, who do not adhere to any side, and are tightly controlled by the thought police. Artists, writers, rockers, metalheads, famous freethinkers who use "non-inclusive" language and have been defenestrated and burned in those public bonfires. It is the new modern inquisition that limits freedoms and censors all dissidence.

Through newspeak —what is language but the soul of peoples transmitted from generation to generation! We think through it and it guides our behavior—a new change in mentality, another step towards cultural hegemony, a new victory to surrender to this modernity. That revisionism and that political correctness that subjects masters like Tolkien or Lovecraft, to comics like Tintin, Conan, the classics and popular tales and a very long etcetera...

Allow us the outburst and exaggeration, but we believe they will end the great works and authors of Literature. The rich language provided by the geniuses —such as Quevedo, Lope, Calderón or Cervantes— of our Golden Age, full of beauty and greatness, as well as comedy, satire and scathing baroque insults, will soon be persecuted and we will have to apologize because these soldier poets, eager for a spirit of adventure and militia, were born in our bull's skin. The century of arms and letters will be cancelled, its virtues and its universal themes of truth, honor, love, spirit, courage, heroism, chivalry or country will be reduced to ashes in this "reversal" of the politically correct.

Cancel culture is the withdrawal of support, be it moral, financial, digital, and even social, from those people or organizations that are deemed inadmissible for their comments and actions. Those, those or "those" who transgress the new established order. The perfectly orchestrated trolls and bots to boycott and stigmatize the heretic. Everything fits here, we have all seen the virtual lynchings of those who criticize the system, who do not adhere to any side, and are tightly controlled by the thought police. Artists, writers, rockers, metalheads, famous freethinkers who use "non-inclusive" language and have been defenestrated and burned in those public bonfires. It is the new modern inquisition that limits freedoms and censors all dissidence.

Through newspeak —what is language but the soul of peoples transmitted from generation to generation! We think through it and it guides our behavior—a new change in mentality, another step towards cultural hegemony, a new victory to surrender to this modernity. That revisionism and that political correctness that subjects masters like Tolkien or Lovecraft, to comics like Tintin, Conan, the classics and popular tales and a very long etcetera...

Allow us the outburst and exaggeration, but we believe they will end the great works and authors of Literature. The rich language provided by the geniuses —such as Quevedo, Lope, Calderón or Cervantes— of our Golden Age, full of beauty and greatness, as well as comedy, satire and scathing baroque insults, will soon be persecuted and we will have to apologize because these soldier poets, eager for a spirit of adventure and militia, were born in our bull's skin. The century of arms and letters will be cancelled, its virtues and its universal themes of truth, honor, love, spirit, courage, heroism, chivalry or country will be reduced to ashes in this "reversal" of the politically correct.

October 12, Hispanic Day. They have asked us to launch something commemorative for the date and we have been thinking about how to approach the Conquest without being dragged by the Black Legend or by chauvinism or irrational nationalism, an exclusive jingoism in many cases. Nor did we want to go into details and nuances about the differences between civilizing empires versus predatory empires, or disquisitions about rights, cruelties and benefits.

This memory is perhaps more metaphysical and spiritual, an approach oriented to the epic, the deed, the courage, the patriotism and the identity of the peoples. Influence the epic of some brave men whose gods were born in Extremadura and who, dressed in swords, breastplate and morion, jumped into the sea seeking glory and fortune for their Empire, and who faced other mythical and honorable giants, strong and powerful warriors protected by their gods of War and the Sun, who worshiped the rain and the stars in their imposing temples and who fought fiercely while beating their drums carved in ahuehuete wood - Huehuetl is thought to have a mystical and ancestral sense , because its sound is related to the heart of the earth.

Thinking about the dimensions of that historic journey and that encounter, remembering those men on both sides of the pond is what we have intended with this design, a look at that world in which life hung by a thread, and in that being, courage, honor and spirit had a value that today we can hardly imagine.

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.

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.

Ashes of Classical Culture that take us to beautiful legends and mythological stories of Antiquity. In the distance the mysterious lands of the west that the Greeks called Hesperia, the Hesperides, that wonderful garden that the Melides or nymphs of fruit trees looked after and that Hercules, the hero of mythology, came to do two of his works on the edge of the earth, perhaps in the lost Tartessos or Atlantis, who knows, in any case they spoke and thought then of the cradle of our ancestors, the one that the historian Strabo baptized as “Iberia.” Many were the classic texts that placed places fabulous like Hades or the flowery Champs-Elysées on our peninsula, the end of the world, where the sun didn't set...

Iberians, Celts, Celtiberians, Phoenicians, Greeks, Carthaginians, Romans, Visigoths ... ancestral civilizations, ancient peoples that left their trail, their substrate scattered on the Iberian skin, on the island where metals were forged. From Tartessos to Hesperia, "Hiberia", Celtiberia, Hispania, Hispania Gothorum, Al-Andalus, Sepharad... melting pot of cultures that watered this fertile land of knowledge and wisdom. On these ashes of legendary kings such as Hispalo and his son Hispan, descendants of Hercules, villages, towns, cities, kingdoms and Empires were raised. Too much blood, between shadows and darkness, a glance towards the light, towards the light of the Ashes of Hesperia that germinates on wasteland and rises, under its ruins, a not alien world that feeds our horizon...

[In the image the representation of the Iberian warrior from Porcuna or warrior with double armor, from the 5th century BC, whose sculptural remains come from the Cerrillo Blanco site in Jaén].

Ashes of Classical Culture that take us to beautiful legends and mythological stories of Antiquity. In the distance the mysterious lands of the west that the Greeks called Hesperia, the Hesperides, that wonderful garden that the Melides or nymphs of fruit trees looked after and that Hercules, the hero of mythology, came to do two of his works on the edge of the earth, perhaps in the lost Tartessos or Atlantis, who knows, in any case they spoke and thought then of the cradle of our ancestors, the one that the historian Strabo baptized as “Iberia.” Many were the classic texts that placed places fabulous like Hades or the flowery Champs-Elysées on our peninsula, the end of the world, where the sun didn't set...

Iberians, Celts, Celtiberians, Phoenicians, Greeks, Carthaginians, Romans, Visigoths ... ancestral civilizations, ancient peoples that left their trail, their substrate scattered on the Iberian skin, on the island where metals were forged. From Tartessos to Hesperia, "Hiberia", Celtiberia, Hispania, Hispania Gothorum, Al-Andalus, Sepharad... melting pot of cultures that watered this fertile land of knowledge and wisdom. On these ashes of legendary kings such as Hispalo and his son Hispan, descendants of Hercules, villages, towns, cities, kingdoms and Empires were raised. Too much blood, between shadows and darkness, a glance towards the light, towards the light of the Ashes of Hesperia that germinates on wasteland and rises, under its ruins, a not alien world that feeds our horizon...

[In the image the representation of the Iberian warrior from Porcuna or warrior with double armor, from the 5th century BC, whose sculptural remains come from the Cerrillo Blanco site in Jaén].

The last Iberian was a human comet that crossed this world until it was lost in the Iditarot, that distant place of which the natives of Alaska spoke. Its splendor left us with a blast of light that, like the ancient shamans of the tribe, deeply connected us with the forgotten memory of the true meaning of life and its mystery, its cosmic meaning. An invitation to reconnect with that ancestral past in which we beat in harmony with Mother Earth, which desperately urged us to strengthen ties with nature as keys to living in the future, to embrace and save Gaia - who reacts when we mistreat her. , and not be carried away by the drift of modernity that tries to dominate it to maximize material growth.

He wanted to be a wolf to live in unpolluted lands. It was that lupus that was part of mythology - where Palaeolithic man, fully integrated into nature, merged with the wolf in a rite of passage - turned into a warrior to face aggression ... Our archetype was a A rebellious, indomitable, visionary, free and wild hero who did not allow himself to be tamed and who fought tirelessly for life, forests and threatened fauna. The spell of his word, his energy, his enthusiasm, his vitality, his strength, his message and his codes captivated and transformed with his light a lineage, that of the line of the free, that like cranes stretched by the lash of the winter know, if not to return, at least feel, perceive and look out to that lost paradise that you dreamed of, so that in the Iberian nights the beautiful howls of the wolf will not stop being heard.

[Text and Design inspired by Felix Rodríguez de la Fuente and the masterful Cuarto Milenio program: “Felix, the last hero” by Iker Jiménez]

Tartessia or Tarshish is considered the first civilization in the West ruled by the legendary Argantonio and located, it is believed, to the south of the Iberian Peninsula, on the riverbed of the Guadalquivir. The echo of a wonderful city, rich in agriculture, livestock and precious metals (silver and gold), is collected in texts, chronicles, stories, biblical episodes, myths and legends. It was the scene of Nórax, Gargoris, Habis and also Hercules, who traveled there, to the Garden of the Hesperides to finish his work, killing the mythological king of Tartessian, the three-headed giant Geryon.

Explorers, archaeologists and researchers continue to search, unsuccessfully, for this lost kingdom of Tartessos, leaving those vestiges in the collective imagination of a unique and mysterious city, of a cultured and happy people, perhaps fused with the Phoenician civilization or extinguished by the Carthaginians. Although it is possible that the classical texts and the sages warn us about the cyclical history of the world... when the very Atlantis that Plato tells us, that wise and advanced humanity was annihilated through a great catastrophe, an implacable divine punishment...

Image: Bronze Carriazo (Astarte, marshes & estuaries' goddesses).

The representation of the wolf in Iberian iconography, as a cult totemic animal, with strong roots in pastoral populations, related to myths and religious symbolism, represents ardor, heroism and warrior mysticism. Combat scenes between wolf and man are common, some symbolize death threat, lineage of power, protection in combat ... and the cult of the night, the path or initiation rite, in the passage to the afterlife, lupus as a guide in the afterlife ...

So recurrent in Iberian art, we find it in the sculptural ensembles of "El Pajarillo", in the Elche-Archena style ceramics, in the mints of the Iltirta and Iltiraka mint, in the "Copa del Carnassier", in the "Torso de Guerrero de la Alcudia"... and in the "Pátera de Perotito" where a young man, his hands are raised in a ritual position, is devoured by the wolf, merging with him, in his transit with the beyond ...

Because the wolf is also death, dying to live, dying to resurrect, when we are eaten we will renew our spirit, as a different being that is reborn as a new man. A journey of the initiate to the world of spirits, a descent to the bottom of the caverns, twinned with a wolf guide who will transfer us his great qualities...

In our eagerness to recover the ancestral memory of ancient peoples, we are trying to collect as much graphic material as possible about the Iberians found in ceramics, vessels or glasses, found in deposits in Azaila de Teruel, in San Miguel de Liria, in Tosal de San Miguel, in Acudía de Elche, in the Serreta de Alcoy, in Verdolay, in Archena ... in so many places on the peninsula, to recreate it digitally, trying to be as precise and rigorous as possible in that recreation process to contribute our little granite of sand in the recovery and dissemination of the Iberian Culture.

How could it be otherwise, we begin this new one with the spectacular discovery, found in the South Countryside in an olive grove of the Rambla, of an Iberian lioness - it is still to be determined, but everything indicates that it is so, those last fierce lions of the caverns that survived until their contact with the Iberian people— along with a ram that they have captured and are devouring. They place it between the 5th and 4th centuries BC. C, and apparently it could express a funerary symbol where the injured animal would correspond to the soul of the deceased person.

In the Illustration it can be read in a non-dual system of Iberian signs: León Ibérico

American Indians: Great warriors, farmers and nomads. Sacred tribes with ancestral ties set among themselves throughout Alaska, Hawaii and the rest of EEUU, that formed the millenarian culture of the “red skins”. Native Americans like the Sioux, Arapajoes, Apache, Cheyenne or Cherokee and their famous leaders such as Geronimo, Crazy Horse, Sitting Bull that evoke the epic struggles of the Conquest of the Wild West.

The supreme product of Indian civilization was the warrior. His prototype contains a wealth of virtues that make him an admirable figure. And to be a good warrior as the Indians understood it, it was not enough to have extraordinary courage; He had to be, too, generous, detached, austere, noble: in short, a true gentleman, a true knight: a way of life and a "way of perfection”.

The irreverent and revolutionary Old skull, the spirit of fun. Skulls were used in the old traditions of satirical and ridiculous poems making social criticism and protest, dates 500 years ago. Also had been used in different plays like the ”Dance of Death” in the 14th century. People needed satire to help deal with the grim world (plagues and diseases) around them. But the symbol emerged in Mexico as a means of expression especially used with roguish and ironic tones against the nobles and powerful of the viceroy times. It is also used during the celebration of the day of the death.

"Only dead fish follow the stream of the river".

Swimming against the current is an odyssey in an open world where paradoxically there is more access to information but at the same time we are more controlled. Reflections of those dystopian universes — riddled with environmental disasters and cataclysms — from science fiction novels have come true. But there is still hope. There are spaces of freedom to ambush, where dissidents and freethinkers can react and rebel against the flashes of tyranny, censorship and dehumanization present in society. In some remote and lost place the Lineage of the free will always resist.

Breath Souls. Breath of life. Last Breath... The old skulls, bones, stones and the earth whisper to us ancient amazing stories, but also too many forged with iron, blood and death....