"Popol Vuh's "hypnotic music" for Aguirre met with considerable acclaim. Roger Ebert wrote, "The music sets the tone. It is haunting, ecclesiastical, human and yet something else... The music is crucial to Aguirre, the Wrath of God..." AllMusic noted, "The film's central motif blends pulsing Moog and spectral voices conjured from Florian Fricke's Mellotron-related "choir organ" to achieve something sublime, in the truest sense of the word: it's hard not to find the music's awe-inspiring, overwhelming beauty simultaneously unsettling. The power of the legendary opening sequence of Herzog's film...owes as much to Popol Vuh's music as it does to the director's mise-en-scène."