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The viada according to the RAE is the violent departure or departure of a person or an animal. It is also defined as the start-up or starting of an engine. With various meanings in disuse such as an attack or the defeat of enemy troops.

Much of it you will find in the pages of this graphic work. A compilation loaded with lights and shadows, myths and legends, ancestral references and historical identities. There is love and also many passages of war. But above all there is a purpose that you will discover through a path of the spirit, a pagan path, a magical path, a path of cultures, a path of action and a path of death.

Because this is a journey and a warrior path. An intimate and direct blasting—violent of course, since it is a first radical shock to your own sensitivity and subjectivity—of your reality. An inner revolution to start surfing the wave.

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.

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

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

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

If you have seen women running through the streets from one place to another being chased by some half naked guys in wolf skins who whipped and whipped them with bloody strips of ram, do not be alarmed! they are just remembering an old pagan festival, something lewd that yes, but it was a sacred rite of purification and fecundity celebrated in Ancient Rome every February 15 called the lupercales or Lupercalia.

The word comes from lupus, that is, wolf and its Roman god of fertility and male sexuality Fauno Luperco (Greek mythological deity Pan, the one who protected the wolf), a strange, hairy being, with legs and horns of a goat and large, pointed ears with a voracious and infinite sexual appetite.

One of the legends tells that in the ancient city of Alba Longa, the evil Amulio after deposing his brother Numitor from the throne, ordered to kill all his first-born, turning his daughter Rea Silvia into a virgin so that she would not have successors, but The god of war Mars was enraptured by the girl and they procreated the brothers Romulus and Remus, who managed to escape from the clutches of their uncle Amulio, managing to survive in the forests thanks to the woodpecker and the she-wolf Luperca who nursed and raised them. Years later they would return to their homeland to take revenge and kill him.

Due to the shortage of fertility and women in Rome, the oracle of the goddess Juno announced that the mothers of Lazio would be fertilized by a male goat. For this purpose, a ritual was held every February 15 in the Lupercal cave - there where Romulus and Remus were suckled by the she-wolf - where the most virile young men were selected - those ephebos who, on their initiation path, had lived in the forests as human wolves—, called loberos or luperci (friends of the wolf), and their faces were marked with the blood of a dog and a sacrificed male goat.

To make the rite more fun and interesting, virile members were created in the form of strips with the skin of the goat ... The libido to the surface, the lustful participants launched themselves in the carnal search for women eager to be impregnated, who agreed in a Shameless sexual play, whipping and spanking included, in a depurifying act that increased fertility.

Christianity erased with a stroke of the pen this fun bacchanal, so beneficial to health and to the women of Ancient Rome, moving it to February 14, Valentine's Day.

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.

Naked, in front of oneself, next to the oak, the sun awaits us, it plays night vigil.

Let the log burn, let us burn the old,

and with its ashes we purify our soul,

their fertile sowing give us an abundance of heart and wisdom.

May the ancestors join us in the great banquet until dawn.

The life that sleeps under the earth will be reborn after darkness.

Yule.

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....