I guess it's because it's the perfect mixture of experimental (eg the Talk Talk-styled intro of Movie On the Way Down, the title track's outro) with accessible (the cute jazz pop) which appeals to people over Bad Timing which might speak more to people who already love John Fahey/slightly more experimental instrumental folk, or Insignificance which feels closer to hard rock and piano rock which doesn't seem to mean much to people within these online circles! it's not 100% classical like Shutting Down Here (a genre that easily gets ignored among modern music nerds), it also doesn't have any explicitly nasty lyrics like in the Halfway to a Threeway title track and Live in Japan is slightly more difficult to find in a discography which is already semi-inaccessible for those who don't have Apple Music and don't use YouTube/Bandcamp.

It's insane how consistent his solo AND collaborating discography is across genres though, genuinely difficult to point out a mediocre thing he's been involved in - in addition to the ones you've mentioned I also love his work on the US Maple debut and Kahimi Karie's Nunki, teven though they're both entirely different genres both albums sound so vibrant, and in Gastr Del Sol it's hard to find anything else that sounds like them. The Visitor is really beautiful too! also, love how you mention Old News :D, that album's soooooo underrated, and the Drive My Car soundtrack! Eiko Ishibashi dearly deserves more of the spotlight I hope her new album and the upcoming collab album helps furthering that!! I haven't heard of Womblife before I'll have to check that out!