Philip Glass, Koyaanisqatsi | Wacky Wednesday

In the 25th edition of Wacky Wednesday (2025), we break down the unique piece of music, “Koyaanisqatsi,” performed by Philip Glass.

Do you know what day it is? It is Wednesday, folks! Do you know what that means? Why, it is Wacky Wednesday! In the spirited column Wacky Wednesday, we analyze, break down, and explore songs from various musicians of various genres that can be considered unique, unusual, or ‘wacky.’  These songs can be new or old; the only requirement is that they ‘catch the ears’ because of their distinctiveness.  So, with the background established, in the 25^th edition of Wacky Wednesday (2025), we break down the unique piece of music, “Koyaanisqatsi”, performed by Philip Glass. Wacky Wednesday vibes commence!

Philip Glass (1937 – ) is the man. He is one of the most influential and prolific composers to ever live. Uniquely, Glass is renowned as a proponent of a simpler, minimalist style of composition and music, which has earned him universal acclaim.  He paved the way for future composers to embrace simplicity. Minimalism still carries incredible weight and produces incredibly accomplished, distinct, and fulfilling music.  Among my favorite Glass compositions is “Koyaanisqatsi”. “Koyaanisqatsi” is the opening from the soundtrack to the 1982 non-narrative documentary film, also titled Koyaanisqatsi (directed by Godfrey Reggio).  What does this Hopi word mean? Life out of balance, which is also the film’s subtitle. Glass composed the soundtrack for the film, and the Philip Glass Ensemble performed it. Notably, there are two Koyaanisqatsi albums.  The soundtrack that accompanied the film features six tracks (“severely truncated form”), including the exceptional title track.  In 2009, Glass released Koyaanisqatsi (Complete Original Soundtrack), which features additional movements that weren’t featured in the film.

From the start, “Koyaanisqatsi” is dark, enigmatic, and hypnotic. Even though it is set in a minor key, it is tonal – no dissonance to be found. Still, it is quite somber. Composed in Glass’s signature minimalist style, the simplistic, repeated lines captivate and mesmerize.  An organ bass line dominates the music early, performed in four-bar phrases, establishing an anchor and clear foundation. Basso profondo (deep bass vocals) performed by Albert de Ruiter, repeats the titular lyric, beginning around the 30-second mark. Given the depth of the vocals and the cool, calm, and poised instrumental, the repetition of the titular lyrics amplifies the mysterious, somewhat unsettling aesthetic. After one minute in, we begin to get more development, a distinct, higher rhythmic line, also performed on keyboards/organ. After establishing the new idea, while maintaining the bass notes in the keys, the basso profondo returns shy of the one-minute mark. The increased rhythmic motion sounds like Glass ‘digs in’ more yet maintains poise: a cool energy.  Following the second round of vocals, a higher, varied organ/keyboard line enters the mix, just before the 2:00 mark. All parts come together with the basso profondo entering for the third and final time near the two-and-a-half-minute mark.  Although not technically difficult from a compositional or performance perspective, “Koyaanisqatsi” feels as accomplished, cerebral, and prodigious as the most challenging and demanding pieces of classical music. My words can’t do the music justice – you have to just listen to Glass’s genius for yourself. Hear this opening gem once, and you will never be able to escape its minimalist brilliance.