Derek Sherinian. An eccentric keyboardist, a character, sometimes comical, sometimes quirky or awkward. But it certainly cannot be denied that he is not a novice. Nor that he is a great artist.
Having moved on from Dream Theater, with whom he recorded the EP "A Change of Seasons" and the album "Falling Into Infinity," he dedicates himself entirely to "his" music, collaborating with some of the most illustrious names in today's metal and rock. The compositional approach of "Inertia," his second work, does not change much compared to "Planet X."
This time, he surrounds himself mostly with great stars: on guitars are Zakk Wylde and Steve "Luke" Lukather. All the premises for a good album are there. Indeed. But no. The first listen deeply disappointed me, the second less so, and I began to appreciate it. The album tends to be boring. It's not that it's ugly, heaven forbid, but the absence of a singer and truly original ideas make it somewhat heavy and suitable for only a few or just the admirers of his way of playing/composing.
Derek launches into a truly extreme prog-metal, technically impeccable. But it lacks that touch of originality that could truly make it miraculous. Especially noteworthy are the first two tracks, very enjoyable to listen to: "Inertia" and "Frankenstein" (a cover of Edgar Winter). The keyboard parts are beautiful, as are the guitar parts. "Metal Hari," however, with its excessive changes in tempo, but especially in atmospheres, risks boring me quite a bit, so I don't even finish listening and move to the next noteworthy track: "Evel Knievel," with a prominently featured Zakk Wylde, who showcases a solo skill that honestly, from a bearded guy like him, I never expected. He literally makes his Les Paul scream in a commendable way.
From here begins the declining phase of the album: "La Pera loca" unbalances the listener with its fragmentation or, if we really want to, in its "intended complexity." "Goodbye Porkpie Hat" instead revisits a track from good old Jeff Beck from the album "Wired." Well done, no doubt, but its length wearies the listener. "Astrogilde" raises the tone a bit, with an engaging keyboard and guitar riff, then launches into an intelligent solo keyboard section. "What a Shame" surprised me with its somewhat distressing and sad nature, an attractive and well-structured piece, especially excellent is the acoustic part in the middle of the track. The last two tracks are forgettable. Beautiful but long, too long to be endured to the end, among furious solos and sometimes unlistenable synths.
This album left me puzzled, because, after all, it is well done and well played. It has its strengths, as the premises for a good album were all there, but it presents many gaps, especially the inability to break away from certain technical clichés that, for artists of their caliber, could have been truly avoided. Derek, fortunately, will do better in the future.
Sufficient album, but for a select few, however.
Tracklist
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