Hearing Shyama with virgin ears, four words came to mind: outer-space-folk-cowboy.  Perhaps it’s the poetry-laced pictures he paints with his words combined with the smooth bass croak (hear the refrain ‘my Lordy lord, my Lordy lord’) on one of the stronger tracks and album opener “Against the Grain” of his voice reminiscent of Iggy Pop. But then as you transcend further into the 12 track record, Nine Moons Walking, you hear the other side of his vocal range breaching tenor. Who is this outer space existential cowboy-philosopher anyway?

Shyama, whose real name is Alfred Lawrence, did stints in groups; Acoustic Black and then Incast, starting back in the early nineties, playing what is described as goth punk around local pubs in the Melbourne, Australia area.   Growing tired of this scene and with the death of Kurt Cobain, Mr. Lawrence had an epiphany and rid of all his worldly possessions; effectively setting himself free, homeless, and then institutionalized in the process. Eventually, he found a place for himself in society and began writing his own journey through his music.  Hence, his concept album, Nine Moons Walking.   

To say that Nine Moons Walking “ain’t no party music, ain’t no foolin around” (to borrow a phrase), would be an understatement. It really is meant for solo consumption. The pensive instrumentals like “Tomorrow’s Yesterday” carry with them a lonesome feeling, a personal quest for God. “Valley of Death” carries this quest further into the record. The domesticity of “Menial Man” tries to find meaning and solace in the banality of life with its country/folk saddled guitars and repetitive backbeat and refrain: “let’s give a hand to the menial man cos he does the jobs that no one else can.”

A high point in this 12-track quest is “Chemical Arrest.” Its timing and mood in the record reminds me of  Pink Floyd’s “The Wall” when Pink awakens in his apartment and starts thrashing his worldly goods around his apartment; a restless stare into the face of Mortality. Another burst of sunshine book-ended by instrumental interludes “Goodness,Passion,Ignorance parts 1 and 2″ is “Sonic Aura” with its melodic optimism and crystalline acoustic whims. “Inertia” is Shyama’s folk rap on politics, religion, discrimination and the like: “Ignorance is bliss until it gets to this.” 

There is a new age sound that I find particularly appealing about Shyama’s music. It’s definitely the combination of classical instruments; use of what sounds like harpischord on tracks like “Goodness, Passion and Ignorance” Parts 1 and 2, along with his crystalline electro-acoustic rings that are prevalent throughout the record. The introspective bent to the songs also gives the record a psychedelic feel. There aren’t really any pop gems to mine on this record. In many ways, Nine Moons Walking is almost too eclectic in terms of its sonic originality and twisty instrumental interludes to be considered for pop airplay, but this should not distract the weary and curious listener looking for original work, soothing sounds with new age edges and psychedlic rings.        

Reviewed By Michael Morgan

admin Michael Morgan, Reviews Nine Moons Walking, Shyama