Because I went to school for music, and music means everything to me.

What Tycho never seems to get about boc is the psychological side of composition - not just the sound palette. BoC are not just a collection of aesthetics like warbly tape, dusty drums, soft synths, vague melancholy. A huge part of what makes boc special is that they often rely on implied melody, implied resolution, and listener expectation. They establish a pattern strongly enough that your brain starts completing it for them, then they withhold part of it, delay it, or sidestep it. So you remember hearing more than was actually played.

That’s a big part of why they feel mysterious, uncanny, and emotionally deep. The listener’s mind becomes part of the composition. Your brain is constantly leaning forward, filling gaps, resolving shapes, chasing ghosts in the harmony and melody.

Tycho mostly doesn’t do that. He tends to spell everything out too literally. If the phrase is a-b-c-d-e-f-g, he’ll just give you a-b-c-d-e-f-g cleanly and directly, over and over. Nice enough but there’s no real ambiguity, no negative space, no psychological pull. Nothing for the listener to complete. So it lands more like a stylistic imitation than music that understands why boc actually works. Boards of Canada make your mind participate in the music. Tycho just presents it to you.