Honestly, I’d have to hear that in context a little better to really weigh in. Some of the note choice sounds a little, well abrbitrary, but for the most part left/right hand fretting coordination is good even if it wavers a little at the start.
But, listening to something like this turned way up, the fact some of those faster lines are pretty “outside” is jarring. Listening to it properly in the mix, it might have a very different feel. I remember a few months/maybe as much as a year ago here we were talkin about that picked run from For the Love of God, and I was very surprised to see, when it was slowed down and tabbed out, that some parts of it were vey much pattern-based rather than scale based, even though at full speed and in the mix it doesn’t sound particularly arbitrary at all. Vernon Reid is another guy who does a lot of the same sort of thing - his fast runs seem to mostly be pentatonic licks with chromatic connecting passing tones, but at speed, in a song, it still sounds great. I’m curious if the same thing is going on here.
But, like, at a minimum, these passages are pretty clearly “speed as a texture” runs, rather than “phrasing” ones.