Japan tour 2018

We just completed our tour of Japan with Eluveitie!
Thank you to the bands, promoters and most of all, the fans!

Show 1 Tokyo - Club Cyclone -
Nothing like a sold out show to kick off the opening night of the tour. The venue is an awesome spot in Shibuya, located in the basement of an old hotel, After first thinking our dressing room doubled up as a canteen, we were delighted to find out that it was actually our rider. We were opening the first night and hit the stage to play infant of 120 eager fans. Even though the show kicked off at 6:30 pm, Japanese fans, known for their punctuality were down early to witness each of the 4 bands on the lineup. With battle armour intact and helmets avoiding confiscation at the airport, Hybrid Nightmares rocked out to the enthusiastic crowd and were very well received.

Show 2 Tokyo Duo Exchange
With last night’s warmup show out of the way it was now time for the biggest show of the tour at Tokyo’s Duo Exchange. Only three blocks away from the previous night saw a return of many familiar faces and a host of new metalhead flocking to the venue. First up were Abinchova, another folk metal group from Switzerland who’s combination of violin, keyboard and a triple vocal attack had audiences captivated. We were up next and played to a fairly full room of 600 people. There is truly nothing like a Japanese crowd - whether there is 10, 100, 1000 or 10,000 people in the room, they get totally consumed by every aspect of the show and respond to every incentive to mosh with great enthusiasm and action. Our set was a blur of fist pumping to the beat, clapping along to breakdowns and tearing it up in circle pits every time the riff commanded it. We left the stage feeling like huge rockstars and very welcomed by our Japanese hosts. Post set was 2 hours of posing for photos with delighted new fans and the odd person who strayed past the front of the venue and thought we were a much more famous band.

Show 3 Nagoya-
The third stop on our tour was in the beautiful city of Nagoya. Two hours from Tokyo on the bullet train it was amazing to see that we still hadn’t left the city and that high rises, big apartment buildings and neon billboards were still the norm. With a capacity of 200 people we were delighted to have our tour manager confirm a sold out show moments before we hit the stage. We proceeded to roll out our set to a relentless audience hell bent on mashing, fist pumping and moshing to every moment of every song. It was great to see a few familiar faces from the night before and post set we engaged in our new favourite pass time of posing for selfies with eager fans.

Show 4 Osaka -
Any international band knows that Melbourne is the heart and soul of live music in Australia. Osaka is the Melbourne of Japan, and despite being a smaller show than Tokyo’s Duo Exchange, the Osaka fans gave it there all. 400 People crammed into a 3 level opened up underground basement (which I’m sure they use for robot fights every other day of the week) was an unreal experience and one we can’t wait to return back to. We couldn’t have asked for a better show to cap off an already amazing tour and want to Eluveitie for having us and every single person who came to the shows.


Almagest details released!

We are proud to launch pre orders, and annouce tour dates for our album Almagest.

Oct 7   -  Adelaide     - New Dead Metal Fest
Oct 13 -  Canberra    - The Basement
Oct 14 -  Sydney       - The Factory Floor
Oct 20 -  Ballarat      - The Eastern Hotel
Oct 21  -  Melbourne - The Evelyn Hotel
Nov 2  -  Brisbane    - Crowbar
Nov 4   -  Hobart       - The Brisbane Hotel
Nov 17  -  Perth         - Tetsuo


Almagest is the debut concept album from Melbourne’s progressive extreme quintet Hybrid Nightmares. As a fully realized concept album, Almagest takes the listener on a journey through the heavenly spheres as imagined by Aristotle.

This journey, both spiritual and thematic, is undertaken by an automaton known as the Pilgrim, and his two guides - a la Dante and Virgil - who light his way and offer him differing perspectives relative to their callings – one being a spiritual or faithful presence, the other being a man of science and reason.
With his guides, the Pilgrim journeys via pseudo astral projection that takes him from the grave he was buried in with his beloved master, to the outer reaches of the heavenly spheres where he encounters the primordial force that Aristotle theorised was some kind of Prime Mover, a name that later became synonymous with the Christian God at the advent of that faith.

Combining Greek and Roman theology, mythology and astronomy with Renaissance religious symbolism and esotericism, Almagest is the culmination of centuries of mysticism and ancient philosophies portrayed through a sci-fi lens all within the melancholic milieu of Hybrid’s signature sound.

Copy of Almagest Album Cover - 17 x 17 cm 300DPI.png

Track Listing:

1. Terra
2. Luna
3. Mercuri
4. Lucifer-Vesper
5. Sol
6. Ultor
7. Jupiter
8. Saturni
9. Firmamentum
10. Almagest



Album + Limited Edition Shirt: CLICK HERE

Album + Limited Edition Shirt + Launch Show Ticket: CLICK HERE

Album Mega Bundle: CLICK HERE


Take a look at Ultor, our first film clip from Almagest

The Cockpit - The Fleet

So one of the first, and almost invariably last questions I get asked before I gravboot my about-to-be-smooshed foes is "how did you get here". Well the simple truth of the matter is, we flew. That is to say, in mortal terms we flew here inside the hyper-titanium belly of what is known as the GSSPE Doom Fortress, an inter-astral multi-diemensional craft capable of destroying universes in an instant. Th The basic design concept, scrawled by Jon on the back of a  "Space Pizza Hut" napkin was very basic.

How The Satanist, Watain and Myrkur have killed metal for me, Pt. 1

Words by Jonny Helwinter

I feel I should start this piece with a couple of disclaimers: firstly, I speak only for myself and no-one else in the band, these are my opinions and mine alone. Secondly, I have always been a terrible metalhead, I only really like a couple of Sabbath songs (yes Paranoid and Warpigs), I really don’t dig Judas Priest, when it comes to Maiden it’s just Piece of Mind and even then it’s more for nostalgia than real love of the music. I was massive into Metallica in high school, though now it’s just Master of Puppets, and even after I tried Megadeth, I didn’t get the fuss about it. I got into metal the same way of lot of kids in our generation did, through Nu-metal. I went from Linkin Park to Slipknot and from there it was Korn, Disturbed, Drowning Pool, etc. Finally, Dimmu introduced me to black metal and my tastes took a turn for the darkness. For a few years I was still a rabid Lamb of God fan and I was keeping up with Trivium and Killswitch, but in the last couple of years a change has occurred and it has culminated in the gradual distancing of myself from the wider metal genre and scene. I can lay the blame squarely at the feet of one Adam “Nergal” Darski, The Satanist being one of the most important releases for me since Opeth’s Ghost Reveries or Ghost’s Opus Eponymous. 
The Satanist changed the way I felt about metal, especially the way in which an album is delivered and marketed. Every aspect of that release was cloaked in the shroud of magic and mystery and came complete with esoteric and occult references and a heavily stylised aesthetic that ensured that no bit of promotional material released for it was banal or generic. It was special, it was art, it was pure wankery and I loved every second of it. I’ve always had a penchant for the theatrical (except actual theatre or musicals which I strangely hate with a passion), and I realize now that the albums that are closest to me have always been the ones which went beyond a mere collection of songs with designated hits and ballads and blah blah blah. When I think of Slipnot’s Iowa, it wasn’t just an album, it was hate on record, it was visceral and dangerous and all of the imagery that accompanied it was also dangerous. Watain’s Lawless Darkness still resonates with me on a fundamental level, the pure songwriting on that album and the masterful blend of black metal aggression, groove, and melody combined with the truly incredible album art and the DVD that came out not long after, place it among my personal firmament of astronomical albums that I consider true art. And Behemoth raised the bar, their stage show fully encapsulating everything that was magical about the album and inspiring me on so many levels that even now I am filled with awe as I recall their set at Wacken 2014. But Behemoth were only the beginning of the death of metal in my heart, that torch is now carried by many and I feel I owe you an explanation. 
I still love playing and listening to metal, it is still the genre that I listen to the most, I still worship bands that are distinctly metal. I just don’t identify as a metal head anymore. I see posts on Facebook or what have you about “how good is heavy metal?” and how this band has “riffs for days” and I indulge my curiosity and every time I am disappointed. I have heard it before, recycled pap with a slightly new twist of lemon, or a band that is quite ordinary and doing paint by numbers –insert subgenre-metal, but metal heads are so gee’d up on the idea that anything you can bang your head to is worthy of your time that they’ll make a fuss over a band that wouldn’t make a splash in a kiddie pool. I understand that this seems disrespectful or arrogant, and it is, you are right, I am a snob and a wanker self-confessed, but you didn’t start reading this without expecting that did you? I guess something I take issue with is this whole concept of the “brotherhood” or “family” of heavy metal. Time and again we read or hear this vapid platitude that metal is just a place for everyone to get along and head-bang, and we’re better than all the pop music idiots, and we’re all a big family of misfits and even if the world hates us, we have metal and blah fuckin blah. Well you know what? I dare not to agree. I see the same mindless adherence to formulaic crap in metal as I do in commercial pop, I see punters putting mediocrity on a pedestal because the beer is cheap and the band played riffs. I see album covers that would make the 80’s blush. I see promotional art and video clips that are straight out of high school multimedia class. This isn’t just local bands, this is international level bands who have a chance to reach millions of people with a new era of artistry and innovation and instead they churn out another album that is either the same drivel that made them famous (but never as good, coz you know, context and timing an all that), or they do go in a new direction, except it’s the same new direction as everyone else, the same scales, the same drum beats (doubling the snare or putting off the beat ain’t that new fellas), the same lyrical themes. Yes, well done, you have strayed from the beaten path of your own back catalogue, and onto the wide road of “we used to be relevant and now must compete with a new generation of bands who are more technically able than we ever were and have access to facilities and technology that make the old ways we cling to obsolete”. Whew, that got me sweaty. I’m tired now, but stay tuned for next week when I explain how in my humble opinion, Nergal and Myrkur killed metal.