I think what I like about his music is that there are a lot of notes, but no note seems more important than the other.

I like the music of Philip Glass. I don't know if that is classical music or not, because it doesn't sound like Beethoven, but if it is classical music then I like some classical music then.

I think what I like about his music is that there are a lot of notes, but no note seems more important than the other. Like with Beethoven, he had big notes, and small notes, and pauses and shit. But Philip Glass has all the notes coming one right after the other, and I don't think the notes really matter that much, it's just the movement they make as they go by.

I used to have his "Koyaanisqatsi" soundtrack as a vinyl album. And I couldn't really tell one track from another, no matter how much I listened to it, but that was OK because it all sounded great as one big thing.

Then one day I played it on my record player, but I had the speed set to 45, not 33-and-a-third. And I'll tell you: it was even fucking better! Because now it had all the things I liked about the music, but it was even faster. And with it being faster I could listen to it quicker, which meant I could now hear it more times than in the time I used to listen to it before.

And when it was fast like that it kinda sounded like a heavy metal guitar solo, if the heavy metal solo's notes didn't really matter that much. Which I don't think they do, they're just kinda there to keep the guitar going real fast.

But then I don't know that much about music. It seems it should be like math I think, but in math you have X and Y, not X flat and X sharp and shit like that. I mean, if X sharp is sharp and X flat is flat, why wouldn't you just play X and leave the broken ones alone? Because two-plus-two equals four, I don't need to know what the fuck two-sharp and two-flat would add up to be.

Maybe that's why I like Philip Glass: if the numeral for Pi was music, it would probably sound just like his shit.