DIGITAL EDITION (FREE)

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.

Welcome to dystopia. Sometimes reality surpasses fiction. Fritz Lang's Metropolis anticipated a futuristic, capitalist and leisure city, with deified technology and robotics, and dehumanized and heartless labor relations. Chaplin's Modern Times also elaborated on that idea. Ernst Jünger's anti-utopian work —The Worker, Heliopolis, Eumeswill or On the Marble Cliffs— advanced his vision of the degradation of the individual as a homogenized functional object —which curiously obscures his human face with masks—, the servitudes of power, the generators of opinion, demagogy, tyranny and totalitarianism of decomposed societies subjected to nihilism. Orwell in his 1984 painted a world of control, with a watchful big brother and a thought police telling us what to think, with the imposition of the one-party dictatorship brainwashing from the omnipresent telescreen, propaganda and newspeak slogans ( "War is peace", "Freedom is slavery", "Ignorance is strength."). In Huxley's Brave New World, a paradise is announced where absolutely everything was determined, which denies free will, manages emotions, the use of technology to control society, that consumer society happily enslaved and emptied of all spiritual content. Bradbury's Fahrenheit 451, once again predicted a uniform and oppressive happy arcadia with curtailed freedom of expression, which censors thought and knowledge, with a society obsessed with the media of TV and radio that instead burns books, its citizens are watched, vigilantes and informants, where all censorship is a social good and persecutes the dissident. The most recent Journey to the End of Time by José Javier Esparza, with technical civilization and the excesses of genetic engineering, facing the desperate search for the sacred and the return of the spirit. Until the Matrix saga that focuses on determinism, the ties of the system, freedom, our domination and mental programming.

Despite great powers in the shadows, powers that be, influential multinationals, bilderberg clubs, loobies, think tanks, Masonic societies, media terminals, currents of thought, future plans and agendas or governments that lie and corset, one can search for theories of the conspiracy, but the truth is that the great mass is already intoxicated and alienated. The cultural hegemony that Gramsci spoke of has swept everything away. A twist has been given to those dystopian predictions. All in the name of democracy, freedom, equality and progress. True freedom has been undermined. Today they no longer have to pull the strings, we are happy slaves, brainwashing and the conquest of minds in its final stage. We adore our subjective self and our relative truth turned into absolute, we fatten our ego in the networks, we project what we are not. Because we are neurotic individuals, weapons of mass manipulation that play at cancel culture, fake news, inclusive language and political correctness. We are sheep and indoctrinated masses but we don't even know this and if they tell us we won't believe it either. Our preferences and tastes Google already knows them. We are impulses fed by an algorithm that works with artificial intelligence, and that tells us how to think and how to feel. Inexperienced, docile underdogs and without the ability to react, only what is expected of us, that of the herd. Nature itself has been straightened out with the power of science and technology, finally redesigning society and the human being. It is the new religion, a labyrinth of new parables, crumbling images, precarious icons, and the great silenced truths, thrown into ostracism.

Faced with the dehumanization of postmodernity, the globalist posthumanity of the new world order and contemporary nihilist decadence, there is nothing left but to lie in wait, as the soldier poet, anarch and cursed rebel Jünger used to say, return to the "forest", to the refuge, to the resistance interior, outside the walls of the system, alone with oneself. Hour of effort and will, primordial force, creative individuality, distancing from homogeneity, transversality and dissidence. Like the ranger who goes into exile and rearms, when the time comes he mounts the beast and charges into battle.

Postmodernism is here to stay, the political currents known to date are mortally wounded, due to many renewals of their message to continue in the wheel of the system, they will not be able to do anything against the powerful capitalist system, already in the orbit of transhumanism and Artificial intelligence.

The apostles of evolution with their Promethean solutions have loaded their globalist and relativistic ammunition, and have launched it on every living creature. Their vision is the same as always, liberation, the kingdom of happiness on earth, which hides nothing but a vile interest in amassing fortunes and power for their elites and their lineages. But that invented world that they try to impose on us is not the true and his conception of man so far from the truth aims to create an amorphous, manageable, denatured and neurotic mass emancipated by its relative truths and its subjective self-determination. No matter how many laws they articulate, no matter how much indoctrination they are, they will never be able to put barriers to freedom and life. Denying their spiritual reality and desacralizing it is the objective of their plans and agendas.

AI is a twist in that whole process. It will transform absolutely everything. Think about jobs, genetic engineering, assisted reproduction, babies on demand, algorithms... there is talk of a fourth Industrial Revolution, in which the old economic and political models are going to be useless. Faced with this increasingly present dystopian world of science fiction, a return to the transcendent conception of man, an update of the Tradition as a response to nihilism and the coming hypertechnology.

Dethrone Tyranny!! Gamma Ray, one of the leading German power metal bands, founded by Kai Hansen (Helloween guitarist), warns us and shows us the way. His explicit songs like “Illuminati You will never take control!” or “New World Order” unfortunately so current…

Illuminati You will never take control !:

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Illuminati

You've come to take control

You can take my heartbeat

But you can't break my soul

We all shall be free

Illuminati

You'll never take control

Your new world order

Will lead to none at all

We all stand before you as one

Heaven is for everyone

To be free from the dark

New World Order:

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On wings of tomorrow we're coming to fly

Erasing the sorrow and this is the place where you die

We're shaking the chains off the world of today

We're coming to get you no matter what you're gonna say,

This is the time of the ending

It's the dawn of a new world order

This is a new beginning

Where a new world shall arise, we scream

On the wings of yesterday you're gonna die

And you know it's gonna be - we're screaming

This is illumination - we are

We are illuminates - beware

This is illumination - we are

We are illuminates

We live inside society, our presence is unknown

We plot and we manipulate you to which way to go

Illumination comes across the world to bring an end

Intimidating silent force that puts us in command

This is the dawn of the ending

It's the time of a new world order

This is a new beginning

Where a new world shall arise, we scream

On the wings of yesterday you're gonna die

And we know it's gonna be - forever

This is illumination - We are

We are illuminates - Beware

This is illumination - We are

We are illuminates

In the darkness, we shall await

Prepare for changes, to seal your fate

This is illumination - We are

We are illuminates - Beware

This is illumination - We are

We are illuminates

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.