Derek Sherinian is arrogance personified. Ask Alice Cooper. He even said so on the first page of Derek's Planet X CD booklet. He'll also tell you that the former Dream Theater keyboardist has chops coming out of his ears, and I don't mean sideburns! After his five-year stint with Dream Theater ended when the band opted for the equally incredible Jordan Rudess (their first choice to replace original keysman Kevin Moore which didn't happen due to Rudess' prior commitments), Sherinian hit the studio with an impressive trio of musicians. Brett Garsed, guitar (Nelson), Tony Franklin, bassist par excellence (The Firm, Blue Murder) and drum wizard Virgil Donati lend their awesome talents to the Planet X project with impressive results.

This is progressive rock like we knew in the 70s: moody, expansive and at times ethereal. This is not a release that's heavy on guitar, but it does bear the name of a keyboard player, so it's understood. This is not to say that Garsed didn't pull his weight, but rather it appears that Sherinian wanted to make a record that was a departure from the all-out, heavy shred mayhem of Dream Theater. He has, for the most part, succeeded in this endeavor as the songs take you on a sonic roller coaster ride with many exciting twists and turns. The three part opener "Atlantis" is seventeen minutes of headphone bliss. "Crab Nebulae" is a midtempo soundscape that recalls some of ELP's heavier moments with some great organ work from Sherinian.

The next track, "Box," veers off into a funk direction that tips it's hat to Zappa and Parliament/Funkadelic at times. Franklin shows why he is one of the most copied and sought after bass players in rock. This guy just doesn't quit! Sherinian comes out blazing with the speedy "Money Shot" and shows his originality with some nimble synth workouts that are as strange as they are enjoyable. "Day in the Sun" is a fairly standard fusion exercise with some fast and furious syncopation from Sherinian, Garsed and Franklin. Donati is impressive throughout, as well.

"State of Delirium" slows the pace to dirge-like and exudes an almost doomy aura, providing a brief, but welcome respite from the crazed pyrotechnics of previous tracks. "Space Martini" is a cleverly and suitably titled track with it's easy groove and quirky swing beats. "Brunei Babylon" closes the disc with a heavier and more straightforward groove that sounds like Zappa and the Dregs playing at Mardi Gras on Mars! Wonderfully weird, I'd say. This is an impressive foray into the world of keyboard dominated prog, Sherinian style. He may be pompous, but he can PLAY!

Reviewed by Chris Yancik

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