Shredz At An Exhibition
Review by: Lisa

The 1980’s and 1990’s were filled with many great guitar gods from Steve Vai, to Joe Satriani, to Yngwie J Malmsteen. The noughties have so far spectacularly failed to produce any guitarists of their ilk – until now.
Paul Clark is a rare breed, a refreshing change in a maze of wannabe rock guitarists. The difference is that Paul is no wannabe. His career goes back many years, having been the lead guitarist in The David Cross Band, David being an ex member of progressive rock band King Crimson. Paul’s musical style compliments David’s electronic violin perfectly, so it seemed like a natural progression to release his first solo album, “Shredz From An Exhibition”.

And what an album it is. From the opening chords of the first track “The Rape Of the Sabine Women”, to the haunting tones of “Requiem”, to the album’s finale of “The Beheading of John The Baptist” What’s amazing about this album is that every track is set around pieces of individual artwork, and according to Paul himself, “Shredz at an Exhibition is an album with an underlying concept that is centred around a journey through an art gallery whereby each composition is attached to a work of art”.

Paul Clark deserves to be up there with the Steve Vai’s and Joe Satriani’s of this world, and in my opinion he already is. “Shredz of An Exhibition” is an amazing piece of work that sounds absolutely sublime and almost orgasmic in places, especially when played very loud with the windows wound down in your car while driving down a long and open road with the sun overhead in a cloudless blue sky.

Now where did I leave my car keys!

MS Mass Media

Shredz At An Exhibition
Review by: Dimitris Kazantzis

Paul Clark belongs to this category of the so called guitar heroes that prefer to present their work on their own, without being members of a band or sharing their talent with other musicians. In the past he was a member of "The David Cross Band" (David Cross was a founding member of King Crimson). " Shredz At An Exhibition " was ready from 2002 but it was only released last December from Rusty Cage. An instrumental album with lots of Vai, Lukather, Malmsteen influences giving emphasis mainly to the technique and the melody and I must say that he does a splendid job. It is a very qualitative and enjoyable album that won't go unnoticed by any fan of the six-string goddess, as Clark blends successfully the guitar with the keyboards. The cover with the framed Mona Lisa on which they had added with a pen a guitar on her hands, glasses, a stitch on the forefront in addition with a beard and moustache, must be noticed by all of us.

Dimitris Kazantzis

Shredz At An Exhibition
Rating *****

Been the guitar man for David Cross of KING CRIMSON fame, gives you a credit. Performing a whole instrumental album, based on a fictional exhibition of paint art, gives you the credit of imagination. When you take this credits and add superb technique , ability in guitar playing, attributes covering a variety of styles from classical to progressive metal and fusion, all with ease, then we have an album we need to discuss.

I didn’t know Mr Clark before this album and I was a little hesitant when I got it for review. Another guitar shredder I thought and decide to shelve it for a few days. Then the excellent cover, with its humorous overtones and the need to be ok for my Head editor put the album on the stereo. What a blast, this is a fine example of good time instrumental music. It covers a variety of styles, mostly investigating classical and progressive themes. It has some long duration compositions, but even there the structure let s you follow the song and not losing the plot.

The musicianship is of the highest standards. While he is not playing a million notes a minute, he is fast, emotion, passionate and has a fluid style that let even the jazzy themes to breath. Get yourself a chance buy the album go the artist’s site, find the whole story about the paintings he has made the music for and enjoy.

I wish at Louver they would let the audio machines they rent you to guide your visit, to have Clarks music as background.

This album is a great idea and a great implementation.

Stelios Basbayiannis

Shredz At An Exhibition
Review by: Alon Miasnikov

It's quite difficult for me to review instrumental albums by such shredders as Paul Clark, I'm not a guitarist and I have no idea what neo-classical mambo jumbo technique the guy is using, but this album is a different story.

The thing about instrumental guitar albums is they can go in two directions: masturbatory self indulgent crap for musicians only, the kind that screams "I'm a better player than you are!", and this kind - rich, melodic, well crafted instrumental pieces that could have just as well served as soundtracks for a film, and since the album has a theme of historical or mythical themes running throughout, it does seem like a collection of soundtracks, albeit quite heavy and technically impressive as well.

The one bone I have to pick with the album is that it opens with what is, in my opinion, its strongest cut – "The Rape Of The Sabine Women", some truly catchy and strong neo-classical melody lines, and a great quiet mid-section with a strong display of feel. It's all good after that as well, but it's hard to top such a strong opener.
Another interesting approach by Clark is his infusion of such epic and progressive cuts such as the second track – "The Raft Of Medusa" – this is something which very few metal guitarists might try to do, the 14-minute track is both epic and melodic enough to be enjoyable, but the sheer scope of it is staggering.
Clark's knowledge and mastery of different classical periods is well evident in the third track – "Requiem", in which his guitar has a fantastic, almost non-guitar like softness and feel.

It's also well worth a mention that Clark does everything on the album, not just the guitars, but also the solid drum work and the orchestral keyboard work. The sound could have been a bit stronger, the drums are a bit flat some of the time, but with so much going for it, that fact is non-consequential in the overall picture.

Among very few guitarists whose instrumental work I've enjoyed, I have to tip my hat off to this guy, great work.

Alon Miasnikov

Paul Clark
London, England
"Satan Salad"

Clark mixes '70s-style riffage, melodic metal and shred solo passages, powerful single-note lines, and cute little noises into a relentless, undulating barrage of guitar madness. Although Clark's tone is pretty saturated, his formidable technique presents every note loud and clear, and some of his phrases are nicely nuanced amidst the onslaught. myspace.com/clarkymusic

Michael Molenda

Simon Bradley

Paul Clark: Shredz at an Exhibition
An intelligent concept - a number of rocking instrumentals based around stories depicted by classic art - is backed up by a shredding style that mixes the Bach flavouring of Uli John Roth with the grandeur of Judas Priest. Possesses enough Battle Metal keyboards to keep the kids interested too..."

I liked it Paul, really. It's difficult to do something genuinely new in the instrumental shred arena, but your art concept is a real goer. On a personal note I thought the keyboards were a little too high in the mix, but you play very well and there's plenty of melody going on too.

Paolo Carnelli
www.wonderoustories.it

DAVID CROSS BAND in Rome, Stazione Birra - 22/02/2007

There are some concerts that are destined more than others to remain part of the personal history of each one of us. Sometimes what makes an evening memorable is the feeling of being in front of something unique and unexpected. Sometimes it is simply the pleasure of finding ourselves pleasantly surprised in a world where we don't get surprised by anything anymore.

It's specifically feelings of this kind that our friend Guido Bellachioma has been working for years with his Progressivamente Festival: a series of concerts that often go beyond the mainstream, if we can talk of mainstream in the "progressive" context, going to discover again historical artists who, without hype, bring forwards their musical message.

One of them is for sure David Cross, the King Crimson violinist on Lark's Tongues in Aspic, Starless and Bible Black and Red. After working for many years in theatre, Cross has started his solo path at the end of 80s', releasing some interesting albums such as Testing to Destruction (1994), Exiles (1998) and the recent Closer than Skin (2005).

In front of a not numerous but warm audience, David Cross has offered a play-list that was extremely intense and perfectly aligned with his sound - being "one stone's throw to metal", as defined by his comrade guitarist Paul Clark - dominated by the interplay between violin and electric guitar: grooves and cross-references typically Crimsonian, inserted in a coherent and effective way within the songs. Few solo digressions and a lot of work on the structures and metrics of the compositions.

On stage along with Clark, Cross and bassist Mick Paul - co-author of the songs on the latest two albums of the ex King Crimson member - were three young Englishmen: the clever Alex Hall at keyboards and sampling, the very good Joe Crabtree at drums and the convincing Arch Stanton at voice.

It's really the warm and expressive voice of Stanton (close to the voice of John Wetton and David Sylvian), together with the violin of David Cross that has been the trait d'union between present and future: from the songs of the latest Closer than Skin album - Are We One?, I Buy Silence - to the songs less recent as Tonk, Black Ice and the wonderful Calamity, up to the Crimsonian songs.

We had three extracts from Robert Fripp's band: Exiles, Starless and 21st Century Schizoid Man. The former has been performed faithfully sticking to the new version in the homonym David Cross album of 1998, introduced by a long keyboard and bass intro; the latter was performed as the encore sweeping away the audience with its raw energy.

Starless was without any doubt the climax of the evening: a precise rendition, complete and in my opinion the best I've ever heard - after the original King Crimson version.

The lanky shape, almost aside on the right-hand side of the large stage of the Stazione Birra, David Cross proved he was able to play his white violin with expertise, moulding it with effects pedals such as distortion and delay. In his eyes there is no desire for revenge, only the wish to remind the audience that many years ago, he was part of that adventurous King Crimson line up. For years, he told us before the concert, he has preferred to escape, hiding himself from a heavily conditioned heritage. Now that he has reconciled with his past, with his music David Cross has perhaps come closer to the hearth of King Crimson than King Crimson themselves.

Metal Express Rating: 9.0/10
www.metalexpressradio.com

Some music listeners out there have no idea who Paul Clark is, which is why at first glance most people who pick up his new release, Shredz At An Exhibition, will probably put it back down. Don’t be one of those people unfortunate enough to fall into that category. This album is far too enriched with extraordinary talent and listenability to be left on the shelves.

Paul Clark (a.k.a. Clarky) couldn’t help to become anything but a musician growing up. It was more or less all around him as a youngster, from his uncle or his grandfather’s influences. Between the ages of 9 and 15, he went from learning to play drums to guitar to forming a band. His uncle John gave him a cheap old nylon acoustic guitar and taught him how to play the chords to “House Of The Rising Sun.” At age 13, he was given his first electric guitar along with a 15 watt amplifier. Having gotten a taste for bands like Motorhead, Black Sabbath, Judas Priest, AC/DC, Led Zeppelin etc., it was here where Paul began to learn to riff and learn some basic Blues-Rock licks. While still young and impressionable, Paul developed a keen ear for Progressive Rock from his grandfather, listening to Yes, Genesis, Deep Purple, ELP and the like.

The turning point in Paul’s life was in 1978 after going to see Black Sabbath perform live with Van Halen as the opening band. Paul was mesmerized by “Eruption” and the wizardry of Eddie Van Halen. Paul wasn’t satisfied until he learned how to play the entire album. A friend of Paul turned him onto Yngwie Malmsteen’s Rising Force one day. Paul was so blown away that he had to know and learn how to do all of that stuff too. He became hungry for all of the top-named shredders out there (Satriani, Malmsteen, McAlpine, Vinnie Moore, etc.).

Paul experimented with numerous genres throughout his career, including Progressive Rock, Rock, Hard Rock, Blues, Reggae, Heavy Metal, Funk, Fusion, Jazz Fusion, and Classical. Although it was mostly Rock and Metal that “flicked his switch,” as he stated in the past, “I’m not constrained to just one thing. That’s not healthy for a musician.” For most musicians this would be enough, but not for Paul, however. His grandfather introduced him to Classical music, especially Eastern European composers at an early age. After listening to Yngwie Malmsteen, there was only one thing left for Paul to accomplish. He went on to study Classical music, ranging from the 16th through the 20th centuries at the University of London. Paul had to find a way to incorporate this knowledge into his unique compositional and playing style. It can be heard throughout his new release Shredz At An Exhibition, which he has been working on since 2000, with unfortunately numerous interruptions.

The album consists of 7 pieces (songs), each of which are based upon a painting that has a story behind it. Paul wrote it, recorded it, programmed all of the sequenced parts, played all the guitars, mixed it, and engineered it. Upon listening to it for the first time, you may not know what to make of it, even as good as it sounds, although Paul’s musical knowledge and playing style and ability shine right through no matter what. It is obvious in listening that the person behind the guitar is well-versed in his instrument and is an exceptionally talented musician. This album is a definite must for any music lover, not just for fans of instrumentals. Look at it this way -- just think of what Paul is going to come out with when he is given some time to work on his new project without being interrupted.

By GEORGE FUSTOS
Email: george@metalexpressradio.com

Hello Paul, The song our blood on their hands was on rock express, The instrumental song of the week.

Gezinus,
www.radio350.nl/rockexpress

Clark, Paul: Shredz at an Exhibition

I sit here in awe as I listen to this work. What is most awe inspiring to me, and probably to all the other wannabe shred guitarists out there is the notion that you can still find the time and energy to create, perform and produce an accomplished work of this nature despite the fact that it (the project) ranks maybe fifth on the totem pole of your life. See, Paul Clark, (Clarky) 40 something year old virtuoso musician, also holds down a full time high tech job, has raised a family with two kids, and has been a member of the David Cross band (X-King Crimson) since 1994. The notion that he somehow had the time to develop the chops, as well as the creational and organizational skills to pull this together with everything else going on simultaneously is in a word mind-boggling. Let’s review how it came to pass shall we?

Paul [aka Clarky] is most noted as the lead guitarist for The David Cross Band [David is a former member of the pioneering progressive rock band King Crimson]. Paul however also has gained some renown as an instrumental rock / metal guitarist writing and recording solo material. Paul studied classical music ranging from the 16th to 20th centuries at the University of London, and has endeavored to incorporate this knowledge into his own unique compositional and playing style. Over the years, Paul’s musical education also included stints in many bands in many diverse styles such as blues rock, heavy metal, funk, reggae, progressive rock and fusion. In 1994, Paul was first approached to join the David Cross Band. Since that time, he has performed on several albums and international tours playing David Cross' own brand of passionate and complex progressive rock music along with some of King Crimson's classic tracks as well. The Paul arranged much heavier version of “21st century Schizoid Man”in particular is a thing of beauty!

Around 2000, Paul developed the concept and started writing his first solo instrumental album to be called Shredz at an Exhibition. The album, ultimately released in late 2006 consists of 7 pieces, each based upon a famous painting essentially narrating the story in that painting. The project was initially finished in 4 track demo form by the end of 2002 however numerous interruptions including recording and touring stints with David Cross, delayed the release until now. It must be recognized that this truly was a Herculean solo effort involving countless hours to write, record, program, mix and engineer. It was worth the wait. The results are stunning. As good as anything else out there.

The first painting, “Rape of The Sabine Women” builds majestically over a synth intro with some of the crunchiest chords you have ever heard. The solos are at first very melodic, lyrical and Satch-like in nature (see, Joe is a hero of Paul’s) and then come on in waves and cascades of intense fiery bursts. The fury of the piece is briefly interrupted with a couple of quiet introspective interludes. Paul is indeed a fire breathing monster of a player.

“Raft of The Medusa” continues the onslaught with a piercing scream of a vibrato intro introducing a death march sort of a chord progression. The piece is punctuated by a very European sounding ( Schenkerish, methinks Michael is also an influence) solo onslaught. Once again wave after wave of searing guitar fury (hey it is called Shredz) over a deadly rhythm track.

“Requiem” allows us a brief respite from the fury to catch our breath. A gorgeous emotionally building piece, in the tradition of say rock era Gary Moore, proving that Paul can also hold and bend a note or two with the best of them.

“The Chosen One” creeps in with a sinister sounding synth intro to some harsh crunchy chords. Another lyrical Satch like solo ensues leading us into more fury and shred mayhem. I hear a few more Schenker nods in there.

“Artaud: On The Fringe of Insanity” starts with some delicate finger picking accompanied with some gorgeous melodic soloing and guitar tone to die for. The intricate pattern builds with controlled playing to a climax and fierce flurry of shred mayhem, never straying from the emotional central theme.

On “Virtus Junxit Mars Non Seperatbit” Paul pulls out the classical training for a poignant delicate interlude before his ultimate exhibit of fury “The Beheading of John The Baptist”.

"John" is a 15 plus minute concept piece unto itself. Comprised of three parts i)The dance of Salome, ii)The Promise of Herod and iii) The Beheading of John the Baptist. The piece starts slowly over a soft synth intro with an initial flurry of piercing guitar notes. This passage leads into another short lyrical Satch-like interlude interspersed with furious crunch chords. The section ultimately builds to an ascended peak and morphs into a melodic passage (The Promise?). Ultimately fury comes to the head again and we are bombarded with the heaviest music on the album gradually guiding us to a furious crescendo and ending. Listen, there is shredding galore in this piece however it is not at all gratuitous but very centered on telling the story. If I was pressed to compare Paul to other shredders out there I would chose Marcel Coenens the dutch master who like Paul honed his heavy metal heart over a foundation of classical training and progressive rock influences. A magnificent first effort indeed Paul, you have reason to be proud! Plus you just gotta love a dude who names his guitars after the seven deadly sins!!

Track Listing
1 THE RAPE OF THE SABINE WOMEN
2 THE RAFT OF THE MEDUSA
3 REQIUEM
4 THE CHOSEN ONE
5 ARTAUD: ON THE FRINGE OF INSANITY
6 VIRTUS JUNXIT MORS NON SEPERABIT
7 THE BEHEADING OF JOHN THE BAPTIST

Reviewer: Mike Blackburn

Release: 8th December 2006
Label: Rusty Cage Records

Website http://www.paul-clark.com : http://www.myspace.com/clarkymusic

Paul Clark (aka Clarky) is best known as the lead guitarist for the David Cross Band (David being a former member of King Crimson). However Clarky has now embarked on producing his own solo album 'Shredz At An Exhibition'. The album is a bold and ambitious piece of work' as the tracks are Clarky's musical representations and interpretations of seven well known paintings' ranging from Theodore Gericault's "Raft of the Medusa" to Gustave Moreau's "The Apparition".

After one listen to this album you are left with no doubts on the talent Clarky possesses. Technically flawless' fusing together a number of styles from classical to rock' to produce something that is unbelievably rich and dynamic. This is a guitar album that is breathtaking and awe inspiring. There have to be comparisons of Steve Vai' Joe Satriani and even Yngwie Malmsteen' but this disc goes way beyond what we have become accustomed to from Messers Vai' Satriani and Malmsteen. I would go so far as to say that none of the above have produced anything that comes close to what Clarky has done since Steve Vai's "Passion and Warfare".

This is not an album dedicated to shredding for shredding's sake' it is intellectual and intense' with each passage and phrase being carefully thought out and positioned. Every single note has a purpose and enhances the depiction of each piece. The album needs concentration to fully appreciate' and to get the full effect the listener needs to read the compositional notes for each track to fully envisage the rich canvas Clarky is presenting.

The opener' "The Rape Of The Sabine Women" leaves you slack jawed with the intense technicality on display. Broken down into sections we have the initial tension from the expected conflict right through to the final scenes of desperation' brutality and chaos. Clarky has captured the scene perfectly and portrayed with his fretwork what few would be able to capture in words.

It's one hell of an opening' and the album does not relent one inch throughout' with Clarky taking us on an emotional journey layered with emotion and passion. Making full use of his orchestral arrangements we have a complete rollercoaster with elements of Metal' Techno and Classical styles (to name but a few) conveying despair' insanity surrealism and even hope' with the depiction of being reborn into the afterlife in the final section of "Requiem"

If you have even the slightest inkling towards instrumental guitar music then you must get this album. It is something that any fan of Vai et al would highly appreciate' even just to hear my pick of the bunch "The Beheading Of John The Baptist". What I thought may be an overambitious piece of self indulgent shredding is actually a genuine masterpiece. Clarky set his bar extremely high with the sheer audacity of the project' but he has cleared it with ease. It is nothing short of genius and an album that will have guitarists dumbfounded in awe' and "shred" lovers reaching for the Kleenex. Quite simply' it really is superb.

Written and Submitted by: Mark Wrigley

The Bottom Line
Paul Clark (Clarky) - ’Shredz At An Exhibition’
10/10
Awesome - we will never see the like again

Paul Clark, Guitarhero on label from Alkmaar
Rating 5 stars

Rusty Cage Records is starting to become 'serious business'. The record company has planned a festival with all their top acts to mark the occasion of their first anniversary. One of these acts is Paul Clark, a British guitarist and member of the "David Cross band' - a former member of the legendary "King Crimson". Are you still with me?

Paul Clark has signed a deal with Dutch record label "Rusty Cage Records". His debut album "Shredz at an exhibition" is something you can call special because Paul is not your average guitarplayer. Here's a list of references: Yngwie Malmsteen, Steve Vai, Michael Schenker, Ritchie Blackmore, Joe Satriani and Eddie Van Halen, just to name a few!!

Shredz at an exhibition has been inspired by 7 famous paintings, masterpieces, ranging from the "Mona Lisa" to "The raft of the Medusa". Instead of words Paul uses his guitar and compositions to tell the stories behind these famous paintings. At his website Paul explains in words these fascinating stories. In short "Shredz at an exhibition" is a package full of layers, which makes this CD very interesting for lovers of:
1 Guitar
2 hardrock/metal
3 Classical music
4 History

Moreover Paul has got the technical skills to tell these stories full of passion. He produces a beautiful warm tone and plays with sustain like a true master. What I also like very much is the fact that Paul doesn't play over the top, something Malmsteen and Vai sometimes tend to do.

Shredz at an exhibition, a wink at Emerson, Lake and Palmer's "Pictures at an exhibition", finishes with a 15 minutes long piece called "The Beheading of John the Baptist", which has been composed the classical way and is truly a masterpiece, just like the rest of the CD.

This album is a must for every fan of this genre, but also for the curious among us who want to hear what is possible on a guitar after Jimi Hendrix brought life to the instrument.

A.H