Camiseta oficial del proyecto El Poder del Metal

"Dios, qué buen vassallo, si oviesse buen señore!" (Cantar de Mio Cid)

"El ciego sol, la sed y la fatiga. Por la terrible estepa castellana, al destierro, con doce de los suyos -polvo, sudor y hierro-, el Cid cabalga."  (Manuel Machado)

"Dios, qué buen vassallo, si oviesse buen señore!" (Cantar de Mio Cid)

"El ciego sol, la sed y la fatiga. Por la terrible estepa castellana, al destierro, con doce de los suyos -polvo, sudor y hierro-, el Cid cabalga."  (Manuel Machado)

"Dios, qué buen vassallo, si oviesse buen señore!" (Cantar de Mio Cid)

"El ciego sol, la sed y la fatiga. Por la terrible estepa castellana, al destierro, con doce de los suyos -polvo, sudor y hierro-, el Cid cabalga."  (Manuel Machado)

"That is not dead which can eternal lie, And with strange aeons even dead may die" 

H. P. Lovecraft, poet, essayist, author, an appreciated and misunderstood genius of the cosmic horror novel. Pagan and creator of blasphemous stories of the wonderful and the ridiculous, his oniric dreams have drawn the worst of our nightmares and inspired in the form of worship the curious and daring who have come to read his chilling and delicious work full of outer beings, ancient gods and ancestral monsters ... Cthulhu, Shub-Niggurath, Nyarathotep, Azathoth, Yog-Sothoth .... As our friend said so well ... The oldest and strongest emotion of humankind is fear, and the most oldest and strongest kind of fears is fear of the unknown »

How to approach witchcraft and not fall into the imaginary that we have about it throughout history since its demonization as an independent woman, enemy of the people through inquisitorial texts such as that written by monks in the Malleus Maleficarum through the persecution of the Church, the witch hunt, the romantic corruption, the self-serving deformation of the Victorian bourgeois society fearful of women's liberation, the morbid, the superstition and the occultism of modernity to pop culture where we find that evil witch of covens with goats eater of children.

An ancestral look returns us to the primordial tradition, esotericism and occult sciences, to the sorceress as a woman of power, free and independent, connoisseur of magical wisdom, botanical and healing knowledge, who approaches the darkness to do the well, transmitted that knowledge from generation to generation as a closed circle through the three ages of women (the young, the mature and the old).

If we have to look for references, there we have the mothers of all the witches of pagan times such as Circe, Medea and Cassandra, those visionaries or women watchmen who accompanied the hero, endowed with magical knowledge, or the mysterious women of the medieval forest as priestesses and epicenter of knowledge, or the witchcraft manifestations of the 19th century (represented in certain pre-Raphaelite paintings) as the last vestiges of a magical and sapiential society.

The history of witchcraft is stained with blood, dark rites and crimes, terrible trials, persecutions, intolerance, scapegoats... Faced with black clichés and legends, let's stay with the true origin of witchcraft, a good time to remember and recover the lessons and virtues of ancient wisdom and magical thinking.

«The war reached us all, in the heat of battle, we well knew the sovereign wolf God and his ferocious consecrated warrior brotherhoods that, through magical rituals, acquired fury for combat, assuming the faculties of the wolf and after his death triumphant, Vaélico, thus referred to by the Vetones, accompanies them on their journey to the beyond.»

The Iberians gained fame for their fighting prowess, but their writing systems, their trade, and their art show that they were much more than great warriors. Their mother tongue "Iberian" was spoken from the Hérault River (France) to Porcuna (Jaén) and they left thousands of inscriptions written in an original alphabet of signs that was a mystery for centuries that little by little is deciphering ... Written on coins , lead sheet, amphorae, mosaic, stone stele, silver crockery or trousseau, painted and engraved ceramics, copper plates, silver trousseau, walls ... Its enormous diffusion in the peninsula reveals to us how consolidated it was. The same alphabet was also shared with the Lusitanian and Proto-Basque languages.

[In the image the head of the wolf on the pectoral disc of the armor of the Iberian warriors]

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...

The image comes from the bronze Celtiberian hospitality Tsera in the shape of a wolf in zenith perspective that appeared in Burgos, related to a Celtic myth of the end of the world, known as the myth of the “Wolf that devours the Sun”.

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...

Night has fallen, the magic in the environment, the druids invoke the spirit of wheat to return to the fields, it is then that the great straw doll captures the spirit of abundance.

The great Celtic festival of the god Lugh begins, the time of the first harvests, between the summer solstice and the autumn equinox, time to gather food for the harsh winter.

Golden field, solar energy, goddess of grain, thank you for the gifts of the earth, its wheat, its oats and its barley.

February 27, 380, the emperor Theodosius abolished the religion and festival of the Sun Invictus by the famous edict of Thessalonica. Until then the Romans worshiped the Sun god during the Republic, and with greater prominence in the Imperial era, since the gradual entry of different religions of salvation of monotheistic tendency, such as Christianity and Mithrism, was giving greater weight to the power of the star king, the one who conquered the darkness ...

Emperor Aurelian made it official on December 25 as the day of the birth of the Undefeated Sun (the main divinity of the Roman pantheon at that time) back in the year 274 and later Juliano the Apostate would declare Helios (Greek equivalent) as the only divinity, and would try to prevent the spread of growing Christianity.

Finally, during a long process of syncretism, both the Festival of the Birth of the Invincible Sun "Dies Natalis Solis Invicti" held after the Winter Solstice, when daylight increased, as well as many other acts and celebrations were gradually reconverted. Paganism would come to an end, a new stage would begin with a victorious sun reborn in the arms of a Galilean.

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.

Matte poster made of matte, thick and resistant paper. Giclee printed on acid-free paper resulting in brilliant colors. The size is 70cm wide by 100cm high, with a paper thickness of 0.26mm