1. Reinheit Satz I [2:58] MP3 soundclip of Satz 1 [1:00]
  2. Reinheit Satz II [4:29]
  3. Reinheit Satz III [9:35]
  4. Reinheit Satz IV [5:38]
  5. Reinheit Satz V [5:19]
  6. Reinheit Satz VI [12:17]
  7. Reinheit Satz VII [5:15]
  8. Reinheit Satz VIII [3:58]
  9. Reinheit Satz IX [13:50]
  10. Reinheit Satz X [11:40]
Music composed, produced and arranged by Andreas Akwara. The first part begins in a similar fashion to Jarre's "Equinoxe", with sparse chords gaining in momentum and intensity, joined by various atmospheric pads. A short, but moody piece of music.
"Satz II" brings in warm analogue textures in the form of classic EMS-like twitters and pads. A subtle pulse is heard but overall the track is more or less a serene drift through celestial textures and flowing, effects-laden pads. Again, comparisons to Jarre are obvious. However, there's that special "Andreas Akwara" stamp on most of the sounds and the way they are arranged into a nice Space Music piece.
The third part represents a formless mass of soothing and relaxing textures. The mood is fairly positive and comforting, nothing grating, disturbing or even remotely aggressive about it.
Surprisingly enough, Satz IV pumps up those sequences for a nice electronic ride through space. It's still firmly rooted in the Space Music tradition but sounds like you're trapped in one of the more active regions of space.
A logical progression from the previous part is Satz V, laden with bass sequences that do remind slightly on "Oxygene", while the rest consists mostly of strange effects and that sawy, CS-80-like Vangelis touch (a very subtle one).
Satz VI returns to the world of flowing textures and typical Andreas Akwara atmospheres and melodies. However, the tone is not so bright this time, opting for a darker, more mysterious sound. Also, it is one of the most experimental and overtly synthetic-sounding pieces I've heard from Andreas. Mellotron choir injections are a noticeable feature of this track.
The seventh part delves into the shadowy world of subtle bass pulses, echoing effects and melancholic pads. Sonically, this is typical Andreas Akwara, as we know him from his previous releases. During the next part, the bass sequences become more prominent, the basic elements staying the same.
These bass sequences also continue well into part 9, being the spine of this track which is laden with ubiquitous pads, effects and nice fat timbres. Sawy synthesizers herald the coming of the last part. This track gradually builds momentum as we are riding on the crescent of sonic waves full of synthetic pulsations and spacey atmospheres. It's possibly the most hypnotic piece of this album.

"Reinheit" is recognizably Andreas Akwara in style and introduces some new elements, resulting in one of his most distinctive sounding works to date. Recommended to all fans of Space Music.

2010. Artemi Pugachov / Encyclopedia of electronic music Astonishing. Great sub-sonic effects buried in sequences and landscapes from some other planet. Great stereo fx effects with a lot of hints on Jarre's Oxygene and Equinoxe.
I recommend listening to this on earphones.

2010. A. Mierle I came across "REINHEIT" in the internet a while ago. "Reinheit Sats IV, V and VI" have since become on of my absolute evening easy listening events.
It's not really ambient. It's not the usual sweet stuff u too often get to hear with ambient artists. It's unusual, alien. Eventhough a lot reminds of Jarre's Oxygene and Equinox.
A lot of times the music appears very inspired and spiritual. And if u are udes to having albums end with some boring filler up, try Akwara's Sats IX and X!

2010. Marc Sidewind / UK This CD from 2010 offers 75 minutes of gentle electronic music.

Delicate electronics serve to generate calming tuneage devoted to a state of mental purity. Airy textures establish a gentle backdrop for equally gentle electronics. The atmospheric basis is soft and appealing, providing a suitable foundation for additional layers to achieve celestial beauty and instill in the listener a sense of cosmic serenity. Pleasant effects bubble just beneath the surface, hinting at activity to come.
When that activity arrives, its presence slides smoothly into play. Sinuous riffs emerge in tandem with mild rhythms, creating an appealing melody whose bouncy definition progresses with mounting charm, finally delivering the audience to a passage of understated churning, a way station that revitalizes with fragile tones and prepares one for the next ascension. This next stage smolders for a while in a realm of satiny minimalism that features portentous sparkles.
While keyboards are utilized, their presence is mainly felt through sustained chords that achieve sweeping tonalities which subsequently drift like tender breezes. When keys are fingered, they produce tranquil notes whose prolonged substance melt perfectly with the overall textural nature of the music.

For the most art, these compositions exhibit a striking ambience, creating stretches of gentle harmonics that incite relaxation. Rhythms play a rare role in the tuneage, appearing only sparsely and in drastically understated fashion so as not to disturb the music's main peacefulness.

2010. Matt Howarth / Sonic Curiosity Well, what is to say concerning "Reinheit"? After that brilliant Album "Quantum" I supposed we have a new EM genius here. "Erwachet" only partially expressed the capabilities of this German composer( dont get me wrong, the album was ok-and SATZEN 2,3 and 7 were quite on the spot). However, there is a difference between something that is just "goog" and something that is the work of a genius. I think that this composer has thoroughly acclaimed himself with this absolutely outstanding album.

SATZEN I brings us very close to Jarre's Equinox Part 1. However Akwara avoids to reproduce a cheap copy. He further adds a lot of atmosphere and sub-bass elements that i think give it an extra edge over Jarres initial composition.
The same actually goes for all "SATZEN" in this album. There are many textures that remind strongly of the albums "Oxygene" and "Equinox", however not just as a cheap copy, but played quite unique in a manner only someone can come up with that I would now truly describe as a musical genius.
The sub-bass feeling, the sense for quite and restricted melody, that subtle feeling for FX Stereo effects, how Andreas Akwara lets Sounds slide from one Speaker to the next, the way he merges the melodies in a fine carpet of sound structures, the delicate way he uses sequencers as pacemakers and rhythm elements, bouncing between the speakers, the often complete unearthly feel, a touch of noble majesty, often spiritual .....all this is something u don't get to listen to very often ....and if you try listening to "Reinheit" on earphones, you will know what I mean.

I predict that "Reinheit" shall join "Oxygene" and "Equinox" in the group of the most distinguished EM Albums ever made.

2010. Vincent Greyletter