1. Pathos part I [15:04] MP3 soundclip of Pathos part 1 [3:00]
  2. Pathos part II [5:57]
  3. Pathos part III [8:40] MP3 soundclip of Pathos part 3 [3:00]
  4. Pathos part IV [7:30]
  5. Pathos part V [11:36]
  6. Pathos part VI [9:00]
  7. Pathos part VII [9:21] MP3 soundclip of Pathos part 7 [3:00]
  8. Pathos part VIII [12:10]
I tried to give the CD a religious touch, the monks in part III are monks from tibet which I sampled, together with the Christian monks in part V they should give religion a sort of unifiying character....
PATHOS means "overwhelming emotion" and it is the sort of emotion I had while composing/playing part III.

Andreas Akwara By using unusual architectures, Andreas Akwara creates dense pieces, brimming with colors and shades. He utilizes electronics with a great imagination and skill, breaking with quite moulds and exploring new musical continents.
The music turns out to be dreamy, oniric, at times soft, at times lively, with some melancholy touches, with warm textures and crepuscular colors, always bringing to the mind of the listener the vision of magic universes.

2004. Edgar Kogler Listening to "Pathos", I have the feeling that Andreas Akwara is an Artist that will establish himself amongst the top EM Composers. The feel for melodies expressed especially in Part III and Part VIII is brilliant. The sense for harmony and rhythm expressed in Part I is also great.
Akwara also has a very unique way of expressing deep ambient landscapes, which I must say, shows that he not only has great imagination, but also a great feeling of how to create deep, dense atmospheres. Then, listening to Part 8, the beginning of Part 8, in which a dense classical feeling is evoked mixed with great synth effects, I must say, one should have an eye that this composer. Brilliant album!

2004. Pedro Spiridon / Spain This CD from 2003 features 79 minutes of inspirational electronic music.
The skies cry, and church bells herald the emergence of solid rhythms and luxurious melody. Synthesizers generate swimming harmonics with a rising tide of embellishing punctuations. Wavering tones blend with atmospheric textures, creating a mood of pleasant anticipation. As the music's substantiality fleshes itself out, a mood of reverence becomes more and more dominant, conveying optimistic yearning.
Faux horns announce the arrival of sadness, reminding the audience of mortality and the limited scope of human understanding. This melancholy is set upon by more optimistic harmonies that goad the spirit upward. Serious morbidity is now tempered with anticipatory hope, delivering the music to an expansive stretch that belays any desolation.
Sweeping chords are accompanied by softly insistent synthetic rhythms. Some of these applications of artificial beats are refreshingly inventive, blending mechanical sounds with humanist disposition.
Like small pools of amorphous consistency, meandering passages separate the more melodic expressions, serving to enhance the crisp emergence of resonant satisfaction. These islands of engaging melody stand as focused oases amid the sobering sonic flow.
The state of pathos is often a road paved with morose introspection, but this music cuts through that emotional descent, providing a promise of accomplishment and fulfillment at the end of the depression.

2004. Matt Howarth / Sonic Curiosity Pathos, by Andreas Akwara, clocks in at 79í21", making it one of the longest CDís ≠ in any style ≠ available. (The red book standard max is 74 minutes.) It is pure e-music so that makes it a real treat! Andreas pulls from the best e-music styles to create a smooth set of diverse compositions. He takes the music in many different directions, sometimes all at once. It is a technique that works quite well.
The CD defies classification so it is just excellent e-music!

2004. Jim Brenholts "A synthesizer may be compared to a brush. You can use it to paint whatever is in your mind." With this sentence, the German electronic musician Andreas Akwara opens a little story in the booklet of his newest release Pathos.
What he writes is all true because on Pathos the synthesizer is used to show the many musical faces of Akwara.

Atmosphere and warmth are two elements that characterize Andreasí music in the eight parts of Pathos. Tubular bells and slowly shifting sounds introduce the first part, which then moves into more rhythmic music with pounding sequences.
Part III is rather melodically. This combined with space sounds forms a sort of "Jean Michel Jarre in space".
Sequences play an important part on Pathos.
Part IV brings Andreas into the Berlin School.
But, as always, the atmosphere stays. Great choirs, a Michael Stearnsí like feeling and Gregorian chants are central in Part V.
A fine sequencer line is essential in Part VI.
The last part is quietness all around but with a nice melody and sequence as well as an idea of being in nature.

For those who are looking for spacemusic with sequences and with a lot of melody, I would recommend Pathos.

2004. Paul Rijkens / SonicImmersion.org I like this solo CD from Andreas Akwara much better than his latest release with BjŲrn Lutz (see my review of their record "Ambush").
On "Pathos", it is all about rather dark, Schulze like, sequencer driven EM, with side steps to the pathos (joke) of a Vangelis or a Jarre.
In eight parts, almost 80 minutes in total, Akwara paints an image of the micro cosmos, as he sees it, in musical sounds. This is done in a rather varied way, so you have to give the record some time to really grow on you.
But isnít that one of the characteristics of a very good EM release?

Andrť de Waal / SonicImmersion.org