hm
There's some inherent Eurocentrism about how Westerners view xenharmony. Many Western composers try too hard to achieve some sort of "otherness" or exoticism while I grew up listening to various macrotonal scales that would (apparently!) sound horrendous to someone who's not listened to anything besides 12TET and thought it was normal up until a point where I decided to look into ethnomusicology. Also like listen to this:
The scale of the tagung (huge gongs) and kulintangan (one-player small row of gongs) would be considered inharmonic against each other and sound like they "clash" according to Western music theory, but to me (and probably to a lot of maritime Southeast Asians), it's just normal ceremonial music.
I think it's why I'm not entirely convinced about the idea of "weird" xenharmonic music. Weird is subjective, and for all you know, that 5ED2+7ED2 piece of yours might just be another daily humming tune to someone across the globe.
