The Old Skull present in our logo, symbolizes the echoes from the past: the bones, the gravestones and the wounded land that speak to us and tell us ancient stories, some of them stunning and beautiful but others forged with iron & blood. Used also in the old traditions of satirical and ridiculous poems making social criticism and protest. And the second mark of our brand identity, the New Moon, the mysterious female powers of the great goddess mother during the harvest, that means —in old Celtics beliefs— a opportunity to start over, a new beginning after death —after the full moon—.

The Old Skull present in our logo, symbolizes the echoes from the past: the bones, the gravestones and the wounded land that speak to us and tell us ancient stories, some of them stunning and beautiful but others forged with iron & blood. Used also in the old traditions of satirical and ridiculous poems making social criticism and protest. And the second mark of our brand identity, the New Moon, the mysterious female powers of the great goddess mother during the harvest, that means —in old Celtics beliefs— a opportunity to start over, a new beginning after death —after the full moon—.

After many centuries of poisonings, deaths, studies and people who have survived it, today we can explain the myths, legends that surround the superstitions about this ancient and strange plant with roots with a humanoid shape.

Its magical powers are due to its analgesic, healing, narcotic, aphrodisiac and hallucinogenic effects, so it is not surprising that sorcerers, druids, alchemists and doctors used it.

Many are those who say that when it is plucked from the ground, its scream can drive you crazy to the point of death, it was mentioned in genesis as a fertility drug and in the Middle Ages it was believed that semen spilled on the ground after post ejaculation morten of those hanged made this plant grow, it was also said that Joan of Arc consumed it and that is where her mystical hallucinations came from and that she carried it behind her shield while kicking the ass of the English who would later burn her at the stake being this the same plant that would relieve her from the pain of the flames ... inspiring Shakespeare in several of his works such as Romeo and Juliet and Antony and Cleopatra where it was used to alleviate love sickness.

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”.

A door opens, it is time to communicate with the world of the dead. Everything is prepared for the magic rite, the bonfires are lit, the skulls are decorated, the spirits are rolled, together with the druid we prepare for the ritual night of Halloween, the Celtic Samhain awaits us. Worship of fallen ancestors and protection against the evil dead. The common and varied pagan belief in the whole world, fallen darkness, ancient traditions, Holy Companies, lemurs and manes, Jack o'lantern, pumpkins and masquerades ... it is All Hallows' Eve , Halloween has begun, waiting to be guided in this life towards the immortal...

The image corresponds to a staff found in Numancia, a symbol of distinction, centrality and duality represented by a rider who, on the back of two horses with concentric circles (the sun in its nocturnal journey), carries severed heads.

Horses are very present in Iberia both in grazing and hunting for their strength and endurance, as in offerings to the god of war Cosus to take over their equine virtues or in sacrifices for warriors to take them on their travels. to the underworld.

In the Celtiberian world the initiation rite of cutting off the enemy's heads was practiced because they believed that it was where the soul resided, the vital essence of the person who survived when he died and transmitted his qualities to them, in addition to immortality.

As for the signs deciphered and translated to "UNS KELTEKIAO" they refer to an inscription that appeared on a ceramic vase from Liria, which they have interpreted as "Celtic Union".

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]

["BAN" (people) "KEBERRIE" (Iberians) "EBAR" (from Iberia). According to the interpretation of the inscription on a bowl from the city of Turba]

The Celtiberian Warriors proudly wore one of their most important and representative indispensable pieces in their armor: the Helmet; and it is not surprising since it, according to its characteristics, ornamental designs and composition, represented its social status. They were a symbol of the Celtiberian elites.

These helmets, in addition to protecting and adorning, had a magical, supernatural character. They were thrown into the sea as an offering and it is thought that the helmets found in a single site could be a type of Sanctuary dedicated to the God of War.

As for the signs deciphered and translated to "UNS KELTEKIAO" they refer to an inscription that appeared on a ceramic vase from Liria, which they have interpreted as "Celtic Union".

The Celtiberian Warriors proudly wore one of their most important and representative indispensable pieces in their armor: the Helmet; and it is not surprising since it, according to its characteristics, ornamental designs and composition, represented its social status. They were a symbol of the Celtiberian elites.

These helmets, in addition to protecting and adorning, had a magical, supernatural character. They were thrown into the sea as an offering and it is thought that the helmets found in a single site could be a type of Sanctuary dedicated to the God of War.

You can't breathe
You can't run
You can't get away
The bell will not save you... 

A custom-made pine suit
Grand Duke without pulse asleep,
The box and the crypt are closed
You can't escape with your keys
And with fogged glass
Who will see you? 

Gelineau Syndrome
Excess Narcolepsy
In a deep sleep you will fall
Flowers on your grave
No spider nails, you scream and bang
To a coffin they won't listen to

Pests, epidemics and cholera
taphephobia does not help you
Two metres below ground
Tight burial
Sealed stone slab
In a matter of hours your choking

Premature funeral
Fear of the dark
Sepulchral silence...
Buried alive you are

The image corresponds to a staff found in Numancia, a symbol of distinction, centrality and duality represented by a rider who, on the back of two horses with concentric circles (the sun in its nocturnal journey), carries severed heads.

Horses are very present in Iberia both in grazing and hunting for their strength and endurance, as in offerings to the god of war Cosus to take over their equine virtues or in sacrifices for warriors to take them on their travels. to the underworld.

In the Celtiberian world the initiation rite of cutting off the enemy's heads was practiced because they believed that it was where the soul resided, the vital essence of the person who survived when he died and transmitted his qualities to them, in addition to immortality.

As for the signs deciphered and translated to "UNS KELTEKIAO" they refer to an inscription that appeared on a ceramic vase from Liria, which they have interpreted as "Celtic Union".

The fierce resistance against the invader of the pre-Roman peoples comes from afar. In the peninsula, the process concluded with the Cantabrian wars (19 BC), where in a bloody war the Romans fought against the Celtic peoples of the North (the Asturian and Cantabrian tribes). Iberia was the scene of wars of occupation, subjugation, strategic alliances, cultural assimilation, interests and betrayals from Carthage -Sagunto- and subsequent rebellions, in the development of Romanization, such as the ilergetes and Iberians (submitted in 190 BC), the resistance Turdetanas, Celtíberas or Lusitanas with Viriato at the head ...

These Celtic or Proto-Celtic peoples (Galaicos, Cantabrians, Astures, Belos, Titos and Pelendones, Arévacos, Vacceos, Celtíberos, Vettones, Carpetanos, Lusitanos) who, from the end of the Bronze Age and throughout the Iron Age, shared the culture of the Urn Fields - use of iron for weapons and cremation of their dead -, beliefs, gods, cults, magic, forests, devotion to ritual warfare and duels, resisted - fighting and defending in its fortified Castros - until the Roman Empire put an end to the Spanish Celtic or Celtiberia by destroying the last Celtiberian bastion (Numancia).

The fierce resistance against the invader of the pre-Roman peoples comes from afar. In the peninsula the process concluded with the Cantabrian wars (19 BC), where in a bloody war the Romans fought against the Celtic peoples of the North (the Asturian and Cantabrian tribes). Iberia was the scene of wars of occupation, subjugation, strategic alliances, cultural assimilation, interests and betrayals from Carthage -Sagunto- and subsequent rebellions, in the development of Romanization, such as the ilergetes and Iberians (submitted in 190 BC), the resistance Turdetanas, Celtiberians or Lusitanas with Viriato at the head...

These Celtic or Proto-Celtic peoples (Galaicos, Cantabrians, Astures, Belos, Titos and Pelendones, Arévacos, Vacceos, Celtíberos, Vettones, Carpetanos, Lusitanos) that, from the end of the Bronze Age and throughout the Iron Age, chose the cultural influence of the Urn Fields - use of iron for weapons and incineration of their dead - (especially the northwest quadrant of the peninsula), shared beliefs, gods, cults, magic, forests, devotion to ritual warfare and the duels, and they resisted - fighting and defending themselves in their fortified Forts - until the Roman Empire put an end to the Spanish Celtic or Celtiberia by destroying the last vital stronghold of Celtiberian heroic resistance in 139 BC (Numancia).

The Kingdom of Castile was a prosperous, frontier and politically advanced society, organized on the basis of its peculiar institutions (Cortes, Councils, Communities, Behetrías) that erupted in a deep malaise of the Castilians before Carlos de Gante's self-proclamation as King of Castile. The postponement of the economic and political interests of Castile together with Flemish greed caused the first modern revolution - the so-called War of the Communities of Castile that lasted from 1520 to 1522. An armed uprising led by the Castilian cities with attorneys in the Cortes, supported by the peasantry and the lower nobility. The community members in Villalar were disarmed with the execution of Padilla, Maldonado and Bravo, the constitutional reform project of the Communities of Castile to reorganize the country was frustrated, now forming part of the Imperial project of the emperor.

Ostentatious, fearless, brave and courageous warriors, so fearful that even the very devil closed the gates of hell because he was afraid of them... These knights of steel or servants of the land were the warrior elites of the Renaissance, recognizable by their striking features, colorful and extravagant clothing (until then reserved for the clergy and nobility, as they were exempted from the rules of the state and the sanctuary laws) their actions were recorded in legendary battles such as Pavia, San Quintín, the siege of Vienna, or the sack of Rome.

In a period, at the end of the 15th century, in which feudalism was dying —with it the caste system that determined by birth the roles in life— and the art of war was changing, the peasants, craftsmen or servants had the possibility to become by their own merits pikemen, arquebusiers or swordsmen within the new mercenary armies of the emperor. Without a noble title, lineage and ancestry, the Lansquenets were able to become highly paid land soldiers thanks to their impeccable combat technique, their high risk in the battlefield that made their lives "so short and brutal" (Maximilian I).

It resurfaces through the purifying fire of the bonfires, when listening to the voice that runs through the waters and the breath crossed by the wind, that ancestral breath that knocks on our door, when the deep roots of the germinated earth embrace us, among the wet grass and wound that cries, and that dwells among the forests, there our lair that shelters us, the sanctuary that protects us and its ritual song that shakes us ...

There is a legend that says that in a place in the Pacific called Teaoturoa, lived a handsome warrior named Mataora who was captivated by the exotic and irresistible beauty of a woman from the underworld, daughter of Uetonga, descendant of the goddess of the night and the god of earthquakes and named Niwareka. He was so captivated that he asked her to marry him and she agreed to stay in his world. Things worked until one unfortunate day the brave Mataora went into a rage and violently mistreated the princess. Drowning in her sadness, she left her husband, returning to Rarohenga, to her old underground life. The clouds wept, the trees screamed, the rivers bled ... the warrior's supplications echoed in the depths of the earth. Sorry for his actions, he descended in search of his beloved to implore her forgiveness. Uetonga, who recognized him when he arrived, gave a great laugh because the hero's body paint had been erased along the way. Naked with shame, he exposed his pain in tears of regret, to which the merciful King forgave him by permanently tattooing him and showing him the art of Ta Moko. Reconciled, they returned from the afterlife, where they taught generation after generation this traditional Maori tattoo technique from New Zealand.

After many centuries of poisonings, deaths, studies and people who have survived it, today we can explain the myths, legends that surround the superstitions about this ancient and strange plant with roots with a humanoid shape.

Its magical powers are due to its analgesic, healing, narcotic, aphrodisiac and hallucinogenic effects, so it is not surprising that sorcerers, druids, alchemists and doctors used it.

Many are those who say that when it is plucked from the ground, its scream can drive you crazy to the point of death, it was mentioned in genesis as a fertility drug and in the Middle Ages it was believed that semen spilled on the ground after post ejaculation morten of those hanged made this plant grow, it was also said that Joan of Arc consumed it and that is where her mystical hallucinations came from and that she carried it behind her shield while kicking the ass of the English who would later burn her at the stake being this the same plant that would relieve her from the pain of the flames ... inspiring Shakespeare in several of his works such as Romeo and Juliet and Antony and Cleopatra where it was used to alleviate love sickness.