Derek Sherinian
Black Utopia

A dark sky... lightning tearing through chemical clouds... life is slowly fading away and only with a miracle, a rebellion against time, does it seem that things might improve... but perhaps this wasn't the fate of man, so intent on surpassing every limit that presents itself?

This is what the music of a certain Derek Sherinian in Black Utopia evoked in me (helped by an excellent artwork that I would dare to say is apocalyptic... kudos to Mattias Noren).
Derek Sherinian, for those who are not familiar, is a talented keyboardist much criticized for his work during his stint in Dream Theater, especially for his stylistic choices, which many say corresponded to the band’s shift towards an album like Falling Into Infinity (also much criticized).
In recent years, after working with various groups like Planet X, Platypus, Yngwie Malmsteem, Alice Cooper, and Kiss, the former composed of famous musicians like Tony McAlpine (a monstrous guitarist/keyboardist), Tony Franklin (one of the best bass players in the world if not the best), the monstrous drummer Virgil Donati, etc., he has dedicated himself to developing a couple of his solo instrumental albums.

Black Utopia is his second solo album, and alongside Derek is a series of all-stars, including a certain Zakk Wylde (Black Label Society and Ozzy Osbourne), a couple of bassists like the aforementioned Tony Franklin and the madcap Billy Sheenan (ex-Mr.Big, Niacin), a drummer who has made history and whom I consider to be perfect named Simon Phillips (ex-Judas Priest, Toto) and other greats including the remarkable Al DiMeola, a classical guitarist, to say the least, massive.

What can I say, one can only expect an almost perfect record given the personalities involved. However, one must take into account that often certain experiments have failed miserably or almost despite the famous names playing on the record (see Transatlantic, Explorer’s Club, etc.) and this for a lack of fresh and original ideas or due to simple technical executions devoid of mood.
In this case, however, this instrumental album is really well done. Derek's work on the keyboards is dark, precise, and atmospheric; the cast is nearly perfect in the execution of the pieces without being cold, as often happens to artists who are too meticulous in their work (see recently artists like Petrucci and DT in general, or bands like Threshold, etc.), but rather rich in emotions also due to artistic nuances here and there that create a sort of well-played live effect that makes the record a real enjoyment for the listener.

The genre proposed by Derek is difficult to catalog into a single category given the cast, and it can be said anyway that these are generally complex and progressive pieces where odd times and dissonances/sonances dominate and alternate with some more laden with pathos (especially when Al DiMeola steps in on Gypsy Moth or Steve Lukather from Toto on the following Sweet Lament), others more metal (see the first three episodes where Yngwie Malmsteem and Zakk Wylde dominate and even challenge each other in Axis of Evil!!!), but generally, I would dare to say Progressive Metal miles away from that of Liquid Tension Experiment and more akin to Planet X.

A note of praise for Derek and his excellent performance as a musician and writer and for the fantastic idea to add one instrument (instead of an entire orchestra, which can sometimes be too intrusive) such as the violin played excellently by Jerry Goodman, which enhances the music with that typical sinister and haunting sensation perfectly suited to certain pieces (Nightmare Cinema, above all, with furthermore a great performance by Zakk Wylde).

The recording quality of the album is truly “exceptional,” there’s no doubt about it. The bass, keyboards, guitars, drums, and Jerry Goodman's great violin are perfectly balanced, and the sounds are, I would dare to say, spacious, precise, and sometimes crystalline (especially regarding the fretless bass parts, for the legendary Gibson Les Paul by Zakk Wylde here a little less dense than usual, and for Derek’s keyboards).

A record for admirers of complex music played by what I would dare to call Legends of the metal and rock/pop scene who seem to form a group I would say is megagalactic and in perfect harmony with each other, capable of moving and not just showing how good they are at doing their job.