Well the Gargoyles you linked I can appreciate ; there's a semblance of rythm, melodic lines, dynamics. I'm a big Scriabin fan, so I'm not completly lost to "atonality" or more modern sounds I guess. Though the title is in a way programatic, it also has, independantly from the "gargoyle" idea, a musical narrative, like a Bach fugue, a Chopin Etude or a Scriabin sonata would.
The other youtube's link from Juufa on the other hand, I'd love to have an "expert" talk about it, what enjoyement can be found, etc.
For what I understand about serialism, it's more of a creative process, so I guess I could enjoy the thought and the sheet analysis of the work - like one could be amazed by the sheer brillance of some mathematic or physic demonstration. But sadly, my ears are those of a mere mortal, hardly a musician, and they don't decrypt the numbers, functions, operations that are rumored to hide behind all this. Even if I could, I don't quite see the point (I'd rather have fun with numbers or whatever particules physics can come up with).
I've tried reading some comments on youtube (my bad) and some articles on more modern atonal music, and it only struck me as being extremely snobbish. The only things I could find was derogatory comments on how "tonal music is so last century". Like I was saying early, to me it goes beyond tonality : I could use the same scale those composers do (I could say, every single note on my piano), the same harmonies (or dissonance), and still I'd try to give it a sense of rythm, a sense of melody (not necessarily "melodious", but more in the idea of "coordinated").
That's what I like about Scriabin, there rarely is atonality for the sake of it, there are harmonies backing it up, phrases, and it is used to created contrast. Indeed, certain sounds create, in our mind, a certain effect, and only using one of those sound means that in the end you'll only be using one effect. That's why, I guess, composers changed modes, changed scales, changed harmonies, all the while transforming their melodies, their musical "ideas", always adapting them. Different harmonies and scales create different effects ; there is the well known closing effect of some cadences, the suspensive ones, there is the mazurka rythm, the waltz rythm, and you can have a Chopin waltz or Liszt forgotten waltz. To me, Juufa's link has a sound, it is one of headache ; it could be fine used sparingly, but left alone and rampant...
I don't even feel it is that big of an invention ; some so called poets use algorythms to order words from the dictionary too, regardless of the meaning it may have, and some did so long before modern atonality.
I was kind of long winded... I may be completly mistaken, but that's my take on atonality, and I'd love more experienced musicians to correct / enlighten me.