Here we have something very unique. Composer Easley Blackwood programmed a synthesizer to use scales with different numbers of notes than western music's traditional 12 notes per octave, then wrote fairly conventional short classical compositions in these very unconventional pitches. I really find it a fascinating listen—what little I know of classical music theory is intricately bound to those 12 notes and the mathematical relationships between them, I don't know how you break the octave up into 13, 14, 19, 20, or more notes and still apply the same ideas. It's certainly dissonant, unmistakeably avant garde, but you can clearly hear well-executed classical harmonic, and contrapuntal ideas at work in these, Blackwood's fully intentional reinvention of traditional tonal music using completely new tones. On a rational level it just plain doesn't seem possible... it's like someone composing formal poetry in a foreign language, which still, somehow, makes perfect sense in English. To me, it's a really remarkable accomplishment.
Perhaps more a interesting curiosity than an actual enjoyable album to a lot of people, I fall firmly in the "it's fascinating enough to hold up to repeat listens" camp, because, despite how weird it is, I find it well-done enough to be genuinely listenable, once your ear simply learns to let go of everything it's ever been taught. The man knew his way around a collection of musical pitches, even if they were far different ones than we're used to hearing.
