Deserto (CD, 2017)

1- The Return Of The King
2- The Ballad Of The White Horse
3- Queen In Yellow
4- Sodom
5- She
6- Devil Blows The Desert Winds


“Deserto” features six songs, all dealing with historical and literary themes. As this is one of Metal features that attracts us as fans, this link between pop culture and the classical tradition, we’ve decided to explore the connections between what is said in the lyrics, what is felt through the music and what we know as members of a tradition through this perspective.

The first song, “The Return of the King” is an instrumental piece that begins the CD making a connection between the great patron of the Epic Metal, JRR Tolkien, and the last song of our album, that deals with a King a little closer of our culture than the great Aragorn.

The second song, “The Ballad of the White Horse,” tells the story of King Alfred of Wessex’s victory over the Danes at the Battle of Ethandune, using the words of the great British scholar GK Chesterton, who composed the homonymous poem we use as lyrics . One of the highlights of the album, the theme is familiar to those who follow the History Channel’s “Vikings,” because Alfred was the son of Judite, and in the series he “became” the son of Aethelstan, the monk.
For those who want to go find out about the poem, which inspired Tolkien himself: http://en.wikipedia.org/wiki/The_Ballad_of_the_White_Horse
For those who want to read the poem: http://www.gutenberg.org/ebooks/1719

The third song, “Queen in Yellow,” has two strong influences on the lyrics: “The Lady Wore Black” by the Queensrÿche masters, and the book “The King of Yellow” by the American writer Robert W. Chambers, of Cosmic Terror, a genre in which HP Lovecraft was consecrated, who in his mythos uses the creation of Chambers.
For those who want to know more: http://en.wikipedia.org/wiki/The_King_in_Yellow

The fourth song, “Sodom,” is, as may be presumed, the present Genesis story about the Divine Judgment of Sodom and the flight of Lot and his family from the condemned city.
For those who have never heard of the story: http://en.wikipedia.org/wiki/Sodom_and_Gomorrah

The fifth song, “She,” is based on H. Rider Haggard’s book “She”, which was celebrated by his character Allan Quartermain, included in Alan Moore’s Extraordinary League, and King Solomon’s Mines. In this book, which is one of the best selling of all time, the novelist tells the story of an immortal Egyptian sorceress who rules a kingdom lost in the forests of Africa and who, in capturing European explorers, recognizes in one of them the reincarnation of his beloved .
For the curious: http://en.wikipedia.org/wiki/She:_A_History_of_Adventure
For the more curious: http://www.gutenberg.org/ebooks/3155

The sixth and final song of the CD, “Devil Blows the Desert Winds”, has a theme that reflects the anguish and hope of our people through the ages, dealing with a punctual fact and, at the same time, repeats itself every day , never in such magnitude, however. As we worked the Canudos War in this twenty-six minute epic, we had opportunity to reflect on the oppression that the infamous government of this glorious country imposes on our people. Using excerpts from Euclides da Cunha’s “The Sertões” classics and Fernando Pessoa’s “Message”, we were able to experience the fortress that the last four brave defenders of Canudos drew from their faith, reflected in the prominent Sebastianism of Antonio’s preaching Counselor, to combat a system they considered unjust and malevolent. We hope that this song is for you what was for us: an end, and a beginning.
Who wants to know more about Canudos, there is a movie of excellent quality, starring José Wilker (which can be found here: https: //www.youtube.com/watch? V = P4OYhj7Io0E). For those who want to go deeper, the book by Euclides da Cunha (which is the great book on the subject – besides being one of the classics of national literature) has already fallen into the public domain.
Who wants to know a little more about Sebastianism (and about our Aragorn, who will return one day from the desert): http: //en.wikipedia.org/wiki/Sebastianismo
And about the book of Fernando Pessoa: http: //en.wikipedia.org/wiki/Mensagem_ (book)


We’ve Lost You: Sepultura: Third World Domination Tribute (Single, 2017)

Devil Blows The Desert Winds (Single, 2017)

1- Devil Blows the Desert Winds (short version) 2- Devil Blows the Desert Winds (Sebastianist version)

Release: November 3, 2017

“Devil blows the Desert Winds” has a theme that reflects the anguish and hope of our people through the ages, in the case of a punctual fact, that, at the same time that is punctual, repeats itself every day, never in the magnitude of the story in this song told, however. Our work on the Canudos’ War in this epic of about twenty-six minutes, we had the opportunity to reflect on the oppression that the infamous government of this glorious country imposes on our people. Using excerpts from the classic “Os Sertões”, by Euclides da Cunha, and “Mensagem”, by Fernando Pessoa, we might experience the fortress that the brave last four defenders of Canudos drew of their faith, reflected in the Sebastianism present in Antonio Conselheiro’s preaching, to fight a system they considered unfair and malevolent. We hope that this song is for you what was for us: an end, and a beginning.

Who wants to know more about Canudos, there is an excellent film, starring José Wilker (which can be found here: www.youtube.com/watch?v=P4OYhj7Io0E). For those who want to go further deep in the subject, here’s the book by Euclides da Cunha (which is the Great Book on the subject – as well as being one of the classics of Brazilian literature) that has fallen in public domain: www.dominiopublico.gov.br/download/texto/bv000091.pdf

Who want to learn a little more about Sebastianism (and on our Aragorn, who will return one day from the desert): https://pt.wikipedia.org/wiki/Sebastianismo
And on the book of Fernando Pessoa: https://pt.wikipedia.org/wiki/Mensagem_(livro)

Hotel California (Single, 2017)

(single song, with the same name)

Release: October 13, 2017

In the process of composing Deserto, we’ve decided we would release our first official cover, but we had a problem settling on one song. Deserto, as you knows, means desert, but also means the Outside, the wasteland, there where demons dwell. Reflecting on this, and with a lot of insight, Tadeu came with the proposal of recording Hotel California, a song about deserts and demons.
We decided we would focus on the (not so) occult meaning of the song, and tried to level the music with the lyrics. Guilherme, Henrique and Tadeu were in charge of the work, an appetizer for the then upcoming album, Deserto.

Moritor pro Libertate (Single, 2017)

1- Moritor pro Libertate

(single song, with the same name)

Release: April 21, 2017.

This song, initially written for Ankhalimah, was responsible for the beginning of a project between Guilherme Klausner and Pedro Drumond. Ankhalimah had just lost all of its members, for the thousandth time, and was in the process of writing a song for a metal-opera project called In Cineris, which has never seen the light of day. The project was centered in the history of the Inconfidência Mineira, a revolution that begun in the capitania of Minas Gerais, part of the portuguese colony of Brazil. Many people took part in the movement, which failed, including the famous arcadian poet Tomás Antônio Gonzaga, responsible for writing many poems under the penname Dirceu.

Guilherme than called Pedro Drumond, a friend he always wanted to work with, so that Ankhalimah could keep its promises. The work went so well that they founded a new band, Neon Black.
The Inconfidência Mineira inspired many other artistic manifestations throughout the history of Brazil, which achieved its independence from Portugal in 1822. We cite the Romanceiro da Inconfidência, a major poetic work by the Cecília Meirelles, for those interested in that kind of stuff. However, one figure stood tall above all. As the plot failed, the conspirators either ran away or bought their way out of the punishments. But not Joaquim José da Silva Xavier, the Tiradentes (dentist – which was one of the professions he exercised). He faced judgement, was condemned, hang and slaughtered, the pieces of his body placed all over the colony to show what happened with those who rose against the portuguese crown.

When Brazil became a country, the first form of government adopted was a monarchy led by a lineage derived from the Braganças, which ruled Portugal and were responsible for the execution of Tiradentes. The two emperors Brazil had, Pedro I and Pedro II, did a nice job granting our sovereignty, but, as they made choices that angered the slave-owning elite (for example, the progressive release of the slaves, with the freedom being granted finally in 1888), they lost their throne – in 1889.

The republic, in need of heroes, sought in Tiradentes a representative to the new regime. Painted as a Christ like figure, his statue stands in front of the old parliament building in the old capital, Rio de Janeiro. Today we celebrate the day of his death, of his execution. The republican government, as the portuguese and the imperial governments before, would kill many other freedom fighters. We are well aware that he was flawed, that the movement was flawed, that it was too inspired by the French Revolution. However, sometimes we must look to those men and just think, beyond their opinions, their flaws, about their courage to stand by their ideas.

The Ballad Of The White Horse (Single, 2017)

Release: April 18, 2016

First single of “Deserto”.

“The Ballad of the White Horse” lyric is composed by extracts of a poem by G. K. Chesterton about the idealised exploits of the Saxon King Alfred the Great, published in 1911. Written in ballad form, the work has been described as one of the last great traditional epic poems ever written in the English language. The poem narrates how Alfred was able to defeat the invading Danes at the Battle of Ethandun under the auspices of God working through the agency of the Virgin Mary. In addition to being a narration of Alfred’s military and political accomplishments, it is also considered a Catholic allegory. Chesterton incorporates a significant amount of philosophy into the basic structure of the story.

The poem is known by its influence in the works of other english writers, namely J. R. R. Tolkien and C. S. Lewis. It was also considered a great inspirational poem for the soldiers who fought on the trenches during the first world war.

The history of the poem is a very common subject in english fiction, portrayed in the historical novel “The Last Kingdom” and the TV series “Vikings”. In its last words, Chesterton warns us about the danger brought by the so called “new ideas” of the XIXth century, as communism, evolutionism, utilitarianism and others. To fight these doctrines back, he came up with a political-economic system which would be non-destructive of the traditional ways of life of the poor people, the Distributism, that had as goal the promotion of the greatest propagation possible of small properties/means of production as a way to empower the small enterpreneur, a system that, he believed, was natural to the society and that was vilified by the greed of the large producer, supported by the government.

Largely forgotten by the masses, his writings still inspire a minority of intellectualized freedom fighters all over the world, struggling against the ongoing concentration of property in the hands of the rich and against the big government that backs them up!
Hope you all enjoy!

For those interested in Alfred, the Great: en.wikipedia.org/wiki/Alfred_the_Great
For those interested in Chesterton: en.wikipedia.org/wiki/G._K._Chesterton

In Stahlgewittern (Single, 2014)

(single song, with the same name)

Release: December 25, 2014

This is the first single of our second album (although we haven’t released the first album yet hahaha), remembering the Christmas Truce, exactly one hundred years after it has happened. The lyrics are extracts of the book “In Stahlgewittern”, from the german author Ernst Jünger. May we, by the remembrance of this gigantic disaster in the history of mankind, build a world of peace, in the spirit of this common heritage we celebrate today!

A word from the singer:

Today, Christmas, is up to the difficult task of remembering one of the saddest moments of mankind’s history. Not because we are a metal band, in any way wanting to disrespect this date of hope for thousands of Christians and followers of other religions who pay homage to this day, or even those who have no religion, but take advantage of the date to celebrate with their loved ones. We chose to launch our single “In Stahlgewittern” today for a very specific reason.

As many may perceive by hearing the song, “In Stahlgewittern” is a very raw tribute to the book of the German writer Ernst Jünger, who began his career with this work, Storm of Steel, describing his experience on the Western Front. Ernst Jünger was considered controversial by many critics for presenting to the public a book of war that does not focus on criticism of the events that occurred between 1914-18, but portrays the war in the same way that the music seeks to portray the book: raw and savage, just how it was.

Ernst Jünger focuses his book on the Sublime side of the war, the war as an aesthetic experience, by the graphic nature of his descriptions of the battlefield, and as a spiritual and ethical experience, refreshing the character, and an expiation of sins by the overcoming of the limits of humanity, the identification of man in its most primitive state with the warrior ethos, as valued in the Prussian militarist culture within which the author was born.

After the release of the book, still under the Weimar Republic, Ernst Jünger released another book, Auf den Marmorklippen, which reports the destruction of a traditional society under the baton of a personalist and collectivist leader, who was quickly identified with Adolf Hitler, who came to offer the author a chair in the Reichstag, despite strong criticism addressed to him by the author, offer that was refused.

Ernst Jünger then identified himself politically with a group of writers, journalists, politicians and lawyers who identified under the generic term of Conservative Revolutionaries. This group stood by the rejection of the Weimar Republic and the support to the fallen Second Reich, the German Empire of the Hohenzollerns, though some went further and sought in the politics of the First Reich, the medieval Holy Roman Empire, support for their political positions. Of this group, many disbanded to support the National Socialist party when it ascended to the power. Ernst Jünger, as we have seen, was not one of them.

The dissatisfaction of the members of this group can be explained by the conditions that led to the war itself, especially the Sonderweg, the “third way” Germany persecuted, or at least the imperial politics as perpetrated in the minds of Germans and Germanophiles during the nineteenth century, repudiating the hardships of Western democracy and at the same time, the eastern tsarism. However, the Conservative Revolutionaries, many still held reminiscent policies distinctly associated with the Sonderweg as adequate state policies.

All this phenomenon fits into the concept of the New Ideas that dominated the 19th century, which destabilized the development of a society that had been progressing and reforming (if any) since the dawn of Christianity. Here we can fit the concepts that are usually called “Long Middle Ages,” popularized by the late (resquesciat in pacem) French medievalist Jacques Le Goff, and “Long Nineteenth Century”, the internationally renowned historian Eric Hobsbawm, also deceased (RIP ), both connected through a Hegelian structure to see history as a dialectical process, ie something like seeing the contradictions of the first concept addressed in the second, which, in turn, failed to resolve their contradictions today, starting the tragedy of the twentieth century in 1914’s bloodbath.

However, today, at Christmas, a hundred years ago, the soldiers over both sides of No Man’s Land, though buffeted by doctrines that, then, and even today, in a way only more refined, preached the dehumanization of the human being, remembered that 1914 years ago, at the time, a little boy was born in Bethlehem, bringing all the omnipotence of God in a loving face for His children, preaching forgiveness and love for our neighbor. And then, remembering something the man of the 19th century had apparently forgotten, but it was so present in the life of the man of the last great era, the Long Middle Ages, the soldiers dropped their weapons and crossed No Man’s Land to exchange gifts and remember the date on which all human beings are, more than every day of the year, children of the same Father and brothers, amongst each other and of the God Incarnate.

P.S.: Trieb is not compromised with any kind of evangelization, respecting equally every religion as a manifestation of the human spirit and the faith of each of her members in the Salvation.

May Dead Dreamers Become Living  Nightmares (EP, 2014)

Released: December 13, 2014

1. Burnt Paradise
2. Darkened Path
3. In Cold Blood
4. Expectations
5. Oneiromancer

Our first E.P..

There are few introductory notes that could be written to describe it. We we’re a bit lost during the production of this album, for we didn’t know how we would be as a band, in the sense that we didn’t have a “plan”. We we’re just knowing each other and the results of this process became “May Dead Dreamers Become Living Nightmares”.

The first song, Burnt Paradise, portrays the timeless feeling that possess those who seek revenge, maybe a little influenced by things like “Carrie” and other school-bullying stories. It starts with a well known passage of the Bible, Ecclesiastes 3, which not only opens the song, but also the whole E.P.

The second song, Darkened Path, is simply about a young boy who went possessed and silently murdered his friends and family while playing as seeker in a hide-and-seek game

The third song, In Cold Blood, is about the murder of the Clutter family, in Arkansas, and is loosely based upon the psychological description of one of the killers, Perry Smith, as it is displayed in the homonymous novel written by Truman Capote.

The fourth song, Expectations, reflects the anxiety of a young couple that hopes to succeed in their relationship, although having doubts about it’s foundations.

The fifth song, Oneiromancer, is an imaginative account of the meeting between the hero Ulysses/Odysseus and a greek sorceress that foretells his successes in the Trojan War, but also the agony of his delayed return to his throne at Ithaca. It is the coronation of the nietzschean philosophy that pervades the whole E.P.