a critique of pure boring (modular synth music)

The move by electronic musicians back to the modular hardware of the 1970s, as a reaction to the laptop music of the '00s, and the gradual reintroduction of digital-based sound-making into this hardware, is a fascinating development. Most of the music is terrible, however.
This demo by Richard Devine isn't terrible, but it's boring. You can skip over his typically over-detailed description of all the gear and patches he's using. Mostly he is trying out one module, the MakeNoise Mysteron, which generates a plucked string sound that can be modulated and overdriven to resemble a funky electric guitar. Devine lays down a mainly unvarying beat, plays the Mysteron to show various ways notes can be bent, and then fades in ethereal pad sounds about midway through. The textures are rich (they had better be with all that gear in the pipeline) but the Mysteron seems like an extremely limited instrument, not worth buying, unless you really like hearing that one sound and think you might use it in more than one tune.
The problem with modular demos, which are largely undistinguishable from modular music proper, is it's all texture. One repetitive sequence is laid down at the beginning and clung to like a security blanket while the tweaker makes subtle or dramatic timbral changes. A true hell on earth is all the YouTubes and Vimeos showing the tweaker's hands turning knobs. This is fine for educational purposes but not so entertaining to watch.
The Devine piece would benefit from some change about a minute in -- a key change, a tempo change, a mood change. Am not necessarily arguing that every piece of music has to have a verse-chorus-bridge-drum-solo structure but some cognizable structure is a real benefit.