Yeah, his discussion of the tritone was where any remaining sympathy or interest in his argument evaporated for me. His discussion of it is completely simplistic and not grounded in any way in the complex historical context of that interval.

Listen to the opening of Debussy's "Prelude to the Afternoon of a Faun" (https://www.youtube.com/watch?v=EvnRC7tSX50). Tritones everywhere: flute plays a melody that outlines a tritone (C# to G). In come the oboes and horns playing a tritone which is part of the A# 7th chord the harp outlines. Then a Bb dominant seventh, with horns and strings playing another tritone. Tritones abound until the music finally settles into the tonic nine bars later, and yet who would argue with the idea that this is one of the most beautiful openings in music?

It's ironic that he likens works based on the tritone to McDonalds (!?). When I hear someone savage a work of music they've never heard, and describe the sound of an augmented fourth as "awful" and call any piece based around the tritone as "[not] natural or good or beautiful or true" I would suggest that person's musical taste is limited and simplistic, sort of the musical equivalent of the McDonald's hamburger.