G-Stone Recordings

Through 2003 and most of 2004, ‘Toujours le même film’ was brought about and produced in Vienna by Paul Nawrata aka Urbs. The songs were composed and created in all reality, by a person who’s sensitivity had been sorely tested. But if music is the healing force of the universe, and if you can, why not do it yourself, and produce your own life soundtrack and music score? And this is exactly I guess what happened. The quality of being mildly damaged or destroyed can sometimes bring out the very best in one’s persona, and this is very apparent in the persona of Paul Nawrata. Paul’s luck though was about to change! In fact, to change beyond his and our wildest expectations. Firstly, the chance to work alongside Peter Kruder in G-Stone Studio 1, and then, a chance to be a fully fledged G-Stone artist and have a album released by such nobility as Richard Dorfmeister and Peter Kruder for G-Stone recordings.

It was when Peter Kruder heard a six track demo that things really started to take shape for Paul. Peter realising the warmth and sincerity in the compositions offered generously to mix down and co produce in his newly revamped vintage equipped studio. A sound so sensitive can only be truly realised in a studio that is equally provided to bring particular detail to the emotions and sensations the artist had envisaged and apprehended in the first place. Paul’s heartfelt emotions were never compromised or misplaced during the time Peter Kruder spent at the desk and controls of G-Stone Studio 1. In fact, it seems the moral sensitivity of the songs has been enriched and adorned. Peter’s understanding with knowledge is a major asset in realising any project, but this one we know was very close to his heart, and it is totally evident. It is of Peter Kruder’s insistence, that he be credited with co production, and anybody that knows Peter Kruder, knows he is a person without ostentation or pretentiousness. It is a project that Peter is extremely proud of, and so he should be.

The music of ‘Toujours le même film is a haunting tale of love lost and found. A majestic soundtrack to a film that would be Paul Nawrata’s life. Its nostalgia and sentiment is beautiful portrayed as he lives through the ups and downs of love and life as in a gentle French film. In fact, it could be belonging to anybody that feels and welcomes music as a synchronized expression of their emotions, moods and psychological state. The exact simultaneous of sound and vision are in real life just as there are in the medium that disseminates moving pictures.

It is readily indubitable to the eye as well as the ear that this fine young man has a story to tell. Most artist albums are a semi-autobiographical account of what, where and when. ‘Toujours le même film’ brings forth the message that tells of the particulars in much greater detail. The music is dramatic, romantic, mysterious, suspenseful. Often heroic in its ability to tell a personal truth unashamedly. The sometimes elaborate combinations of sounds do go along with the more seemingly familiar melodies, always giving the listener a different perspective, always provoking, but tending to awaken passion and devotion, rather then anger or resentment. It is a pastiche of sounds composed for many scenes of a story. Songs with sometimes different directions, yet with incidental instruments that always bring it back together again.

The greatest triumph of ‘Toujours le même film’ is its musical continuity and uninterrupted connection. In a age where modern day albums seem to thrive on lacking commitment to an idea, Paul Nawrata weaves his way effortlessly in telling his musical story with grace and without distraction. A trip back in time goes a great way in helping him find this alliance it seems. The other distinguished facet of the album is the quality of being able to involve the listener. Engaged as a participant yourself, you find also stories, narration and recitals of that which has occurred past or present, or maybe even in the future. It’s a wonderful and moving musical expression that is undeniably timeless. This adventure with consideration that time has already elapsed being the key element, overcoming the obstacle of being disposable and obsolete after only a few listens, as is so often the case with modern day albums. It is none too surprising that Mr Kruder wanted to be involved. (Alan Brown, Soul Seduction, Vienna)