artist: Philip Glass country of origin: USA style(s): Minimalism, orchestral, world beat essential releases: Glassworks (1982, Sony) Koyaanisqatsi [soundtrack] (1983, Polygram) Mishima [soundtrack] (1985, Nonesuch) Powaqqatsi [soundtrack] (1988, Nonesuch)

If there is a moment in history that confirmed Philip Glass was hip to audiences outside the classical establishment and avant-garde it was his hilarious lampooning in the animated comedy South Park in 1999. Glass appeared as the conductor of an absurd non-denominational Christmas pageant, brought in after the town fathers decided they had to put on a show that didn't offend non-Christians. The pageant itself appeared to be a send-up of Glass' strange and exhausting contemporary opera Einstein On The Beach (1976). But enough of the pop culture references.

Glass is the best known member from a founding school of American composers known as the minimalists, the others including Terry Riley, Steve Reich and the seldom heard La Monte Young. Of the four, Glass’s music has been the most commercially successful due to its surprising accessibility at times: engaging, pulsing rhythms combined with fairly simple melodies. Glass himself shies from the minimalism tag, preferring to describe his work as "music with repetitive patterns". But whatever you call it, the relevance of Glass and his peers extends way beyond their own sphere. While its true that most music is based to some degree on repetition, the ideas that informed minimalism give repetition a profound new meaning. After you listen to the likes of Philip Glass, that Brian Eno or Kraftwerk album may never sound the same again.

Some Glass recordings will be just too huge and too demanding for many listeners, most notably Einstein and the terrifyingly lengthy Music In Twelve Parts (1974). However the popular single disc Glassworks is one of the most accessible minimalist records out there and as good a place as any to begin. A small ensemble including piano, woodwind, horns and synthesiser plays six compact, strongly melodic pieces. The film soundtracks listed above also break his ideas down into bite size pieces without sacrificing the impact of Glass' idiosyncratic sound, deftly absorbing elements of sacred, ambient and ethnic music into the mix. The magnificent Koyaanisqatsi combines orchestra with choir, solo voice, organ and synthesisers. "Prophecies" and the title track feature a stately organ signature over which a deep, throaty voice repeatedly chants the film’s title, and the overall effect is mesmerising. With its tremendous choral arrangement, the more dramatic "Pruit Igoe" shows Glass’ ability to build cinematic climaxes of unrivalled intensity using clusters of repetitive melodies and hypnotic, effortlessly changing rhythms. Mishima comes minus the vocal arrangements but has a comparable cinematic sweep to Koyaanisqatsi, with "Runaway Horses" being particularly entrancing. And on Powaqqatsi Glass brilliantly integrates a rich array of instruments and vocal styles from Africa and the Middle-East into his orchestral mix.

On one level, all four of these albums offer anyone who cares to listen a good education in the vital importance that minimalist repetition plays in so much modern music. More generally, they are good places to start for newcomers to Glass. If these push your buttons then you'll be ready - albeit cautiously - to dig deeper.

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