It is definitely esoteric weird shit, but I, like many others, like it specifically for that reason.
I was just thinking the other day that what attracts me the most to his approach is that it’s not (often) built around the “fundamental building blocks” of oscillators, filters, and amplifiers. It’s often a different paradigm where the parameters that are being modified have a coupled effect on things like frequency/pitch/amplitude, etc…
Like the different controls for up and down ramp in Tetrazzi/Sidrazzi type synths, or the bounded oscillators in the Fourses. What you hear, in the end, has complex/intertwined modulations of “oscillators”, “filters”, and “amplifiers”, but not in a one-to-one control paradigm/scheme.
I was also reminded of this performance while he was over for the workshop linked above:
Specifically in that when setting out for the gig, I was picking out the instruments I was going to take, and my go-to stuff generally involves his instruments, and in this case, I specifically wanted to take my Old Mr Grassi. He suggested I take something else, and then it hit me, that although I’m normally “the ciat-lonbarde guy” at a gig, in this one specific circumstance, I was most definitely NOT “the ciat-lonbarde guy”, lol. So I went with drums, and it worked well, hehe.