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4 panel digipak with 20 pages booklet

‘Ethos’ will be following the critically acclaimed 'Marter,' and stands as a testament to the vibrant dynamics within the German Black Metal Scene.

The album will feature guest performances from J.J. (Harakiri forthe Sky, Karg) and L.G. (Ellende).

Expect to be immersed in a world where melody and chaos collide, where unapologetic riffing and haunting melodies guide you through the shadows of the human condition.

‘Ethos’ will be following the critically acclaimed 'Marter,' and stands as a testament to the vibrant dynamics within the German Black Metal Scene.

The album will feature guest performances from J.J. (Harakiri forthe Sky, Karg) and L.G. (Ellende).

Expect to be immersed in a world where melody and chaos collide, where unapologetic riffing and haunting melodies guide you through the shadows of the human condition.

Firtan are one of Germany's most uprising extreme metal acts, delivering their very own mixture of styles to fans all over Europe since 2010. Having supported Rotting Christ, Imperium Dekadenz, and Der Weg einer Freiheit and played festivals like Summer Breeze and Metaldays, their sound originates from black metal involving atmospheric and progressive elements alongside intense vocal performances and accentuating ambient sounds. Firtan known for their intensive live shows, which, to date, they have delivered to ten European countries.

Now, after two EPs and one full-length, Firtan hereby present their strongest work, Okeanos. Inspired by avant-garde intellectuals like Nietzsche and Lovecraft, Okeanos is a dazzling display of epic black metal grandeur, suffused with autumnal atmosphere and winding-yet-captivating compositions. But, although deeply rooted in black metal, the overt muscle Firtan display here - not to mention the panoramic approach to songwriting, daring and boundless - helps Okeanos elude easy categorization. It's an immediately captivating experience, expanding the listener's consciousness whilst whisking the listener away to worlds yet unexplored. And its soundfield is as robust as it is majestic, which is no surprise considering it was recorded at the esteemed studio Klangschmiede E with Markus Stock of The Vision Bleak/Empyrium. At six songs in 40 breathtaking minutes, Okeanos is the album by which Firtan enter into the elite.

The most prominent and significant American death/funeral doom emissaries EVOKEN succeed their 2018 landmark Hypnagogia album with their seventh full-length opus Mendacium set for release on Oct 17. A work that will reveal itself as one of the darkest and most oppressive EVOKEN albums among their unparalleled repertoire.

Where 2018’s Hypnagogia would see the band capture and focus on a more melancholic, tangible, and even more of an accessible sonic design, Mendacium takes that acute shift back to the monumental dirge-like dread and woeful catacombic and disharmonious heaviness reminiscent of the band’s Quietus and Antitheses of Light masterworks. All while still encapsulating the tectonic-shifting nature of their Caress of the Void and Atra Mors releases while venturing more through classic gothic audial textures and even treading a little down experimental mire as well, reminiscing an aura seeping from such luminary artists as Dead Can Dance, Monumentum, and Disembowelment.

To signal this shift in sound harking back to this previous era, the band would recall the services of producer Ron “Bumblefoot” Thal who worked with EVOKEN on their Antithesis of Light and Quietus albums respectively. The result being Mendacium capturing a sepulchral heaviness saturated in ambience with even more of an emphasis on deathlike dread and anguish; an ambience reflecting the depths and catacombs of an ancient cathedral or monastery, ultimately defining Mendacium as EVOKEN’s most powerful sounding album to date.

While we await the anticipated sophomore album from Trondheims MISOTHEIST, their vocalist recorded an album on his own, writing, performing and producing all the music himself(with some very special guest appearances included). Four tracks spanning 40 minutes of cleverly arranged Black Metal ranging from mid-tempo fury and raging aggression, to more epic, grandiloquent parts, all blended in an impressive way.

It's a stunning debut album and yet another amazing project from Trondheim, Norway, released under Terratur Possessions exclusively.

Cover layout by O.A.A. and Kontamination Design.

Distributed by Van Records.

What better timing to release the second fullenght of ENEVELDE, aptly entitled En Gildere Død (A Grandiose Death)!

As humankind drowns in death in all it's shapes and sizes, we can all relate in unison to the current state of the world today. Will we survive another night, and who will live to tell!?

By now a household name here at Terratur Possessions, ENEVELDE continues to deliver cleverly arranged Black Metal, ranging from mid-tempo blackness and raging aggression, to epic madness and beauty.

Written, recorded and performed by B.Kråbøl (MISOTHEIST), featuring M.Hellem on bass and several other guest appearances

Kentuckian living in Minnesota returns with his most sorrowful, introspective album yet. A search for hope in a bleak world. Easily the darkest and heaviest record of his entire career. 

In the music of Forndom, the past breathes with a vitality that transcends time. “Moþir” is as complex as the deities it portrays, weaving together themes of fertility and loyalty, love and betrayal, light and shadow. It is an exploration of divine ambiguity, where the nurturing embrace of a mother can just as easily turn into the cold hand of inevitability.

Here, Ludvig Swärd strips away the modern trappings of synthesisers, embracing a purely acoustic sound. The music feels as though it has been carved from the very earth, born from instruments fashioned by hand and played with reverence for the ancient.

Recorded and mixed by Swärd himself, “Moþir” features the talents of Thomas von Wachenfeldt (Bards of Skaði), whose violin conjures both light and darkness; Janne Posti (Häxkapell, Sons of Crom), whose choral tones add a numinous depth; and Draugurinn, whose haunting presence lingers like a spirit from a forgotten age.

Forndom’s latest offering is a meditation on the eternal cycle of life, death, and rebirth, seen through the lens of ancient Scandinavian spirituality. Ludvig Swärd continues to stand at the crossroads of the past and present, offering a glimpse into the heart of ancient wisdom through the eyes of a modern seeker.

With their fourth full-length "Solastalgia", the German purveyors of soaring post metal work their way to their innermost core and deliver what is easily their most vulnerable and accessible record to date. "Solastalgia describes the grief over the loss of the natural world," the band explains. The very existence of such a term brutally exposes our alienation from this planet. While some of the albums’ songs deal with environmental issues, others focus on personal feelings and the challenges of human existence in a rapidly changing world. Heretoir has always been pure emotion. The pain of modern life set to music. And yet the desperate beauty of "Solastalgia" proves to be an unlikely source of comfort.
The joint songwriting of David, Matthias and Nils creates the new sound of Heretoir. After exploring their dark and grim side on "Nightsphere", Heretoir have gone in a different direction this time. The songs of "Solastalgia" cover a wide range of emotional and heavy music. From Modern Metal to Black Metal to Post Rock to maybe even Screamo. Whatever you want to call it: essentially, this is pure melancholy and a spark of hope in utter darkness.

4 Panel Digipak with 12 pages booklet

Mediabook CD with bonus track & remix + 24p booklet

Nightmares have never sounded so beautiful! Swedish grandeurs of melancholic heaviness, KATATONIA, return with Nightmares as Extensions of the Waking State, set for release on June 6, 2025 via Napalm Records. Once again, the Stockholm-based unit masterfully navigates the tightrope act between nocturnal darkness and Scandinavian despair while subtly weaving a sense of hope into the listener’s heart. Since emerging in the early nineties, KATATONIA has projected a beacon of light for the forgotten and the lonely ones, offering solace to those willing to lose themselves in the band’s immersive soundscapes. From their roots in death-doom metal to the post-metal entity they embody today, their art remains as haunting as ever. Nightmares as Extensions of the Waking State marks the next step in KATATONIA’s evolution, building upon the foundation of their previous album, Sky Void of Stars (2023). Crystal-clear production highlights the interplay between silence and intensity, while the contrast of heavy riffs, delicate guitar harmonies, ethereal synthesizers, and atmospheric nuances create captivating tension. Tracks like ""Thrice"" and ""Warden"" pulse with dynamic energy, while ""Lilac"" sees Jonas Renkse’s unmistakable vocals intertwining with hypnotic rhythms and progressive elements. A near-ceremonial piece, ""Wind of No Change"", merges subtle electronic textures with KATATONIA’s enigmatic soundscapes, while ""Temporal"" balances fragility and strength - its intense verses culminating in a soaring, emotionally charged chorus. The breathtaking ""Efter Solen"" (Engl. After the Sun), featuring Swedish lyrics, evokes echoes of Jonas Eika’s 2018 short story collection, with minimalistic yet striking instrumentation.

Even after more than 30 years, KATATONIA continues to redefine the emotional spectrum of their genre, effortlessly shifting between haunting vulnerability and commanding artistry. With sonic landscapes that evoke dystopia, inner demons, purity, and beauty alike, Nightmares as Extensions of the Waking State stands as a testament to their enduring brilliance. The album was produced by Jonas Renkse, recorded by Lawrence Mackrory at NBS Audio and The City of Glass, mixed by Adam Noble, and mastered by Robin Schmidt at 24-96 Mastering.

Before Chat Pile took on sold out tours and widespread critical acclaim, they played Roadburn 2023, their biggest show to date, in front of a packed room of 3,000 on the festival's main stage. Fresh off the release of God’s Country, the Oklahoma quartet brought their suffocating, sludgy noise rock to Tilburg for their first ever European performance, delivering a set that felt like a milestone. The bleakness, the anguish, the raw absurdity—it all scaled up effortlessly, proving that Chat Pile’s chaos could consume any audience, no matter the size.

The set was recorded and later remixed by the band’s longtime engineer Jared Stimpfl, capturing the full weight of the performance. The result is something both massive and unrelenting, a document of Chat Pile at a pivotal moment, pushing their sound to its heaviest and most visceral extremes.