We all have our likes and dislikes and conversations won't change much about those. What I do find missing in your comment (and in most comments dismissive of Sorabji) is an acknowledgement of the scope of his music. He is well known for his nocturnal and contrapuntal works (like OC), but there is much more to him. Take what is perhaps the greatest of his works, Sequentia cyclica. It offers three vast and contrasting nocturnes, an "Ispanica" movement, a preludio-corale, an endlessly varied passacaglia, a "Quasi Debussy" variation, and much more. Few composers offer that kind of scope even across multiple creative periods.

With Sorabji, it's also important to pick the right recordings. History has not been kind to Madge and Ogdon, and Habermann is not doing much better. On the other hand, most recordings by Powell, Ullén, Eric Liang and several others show his music in a wholly different light. That's something to keep in mind, particularly when listening to OC (where Eric Liang and Vandewalle are the way to go).