ANUBIS

Acoustic risk pays off for these Aussies.

After four studio albums, Australian prog rockers Anubis have decided to rework old songs for an acoustic record to help fund an upcoming tour. Midlife crisis or divine inspiration? The eight songs on Different Stories seem to nudge towards the latter, with the record conjuring up its own unique aura rather than feeling like a hotchpotch, futile attempt at breathing new life into past material. The album opens with the 13-minute saga The Passing Bell, which, thanks to a finale of dreamy keys slathered over subtle drum work, recalls Opeth’s fellow acoustic release Damnation. The song choice here seems to work, with the undressed nature of The Holy Innocent allowing a triumphant sax solo to breathe easy, although tracks like Fool’s Gold can lag. The album ties up with the first airing of Technicolour Afterlife, which was originally written as the conclusion to Anubis’ 2009 debut record 230503 before being trimmed off. It ends up being one of the most beguiling and captivating moments on Different Stories, with the chorus melody grabbing you firmly by the collar and refusing to let go. Regardless of whether this is one purely for the purists, the risk has paid off.