First of all that's really cool that you set them up out of sync. Second, I want to correct -myself, it would be much more accurate to say parallel harmony than parallel fifths.

Anyway... In less musical terms, if you play only the white keys, that would be diatonic. If you start on C and play all the notes in order, that's a C major scale. If you start on A and play only white notes that's A minor, which is one of the diatonic scales in the key of C. Since there are 7 unique notes to start on, you get 7 diatonic scales, each with slightly different qualities. Often times, when you play phrases that cannot be described by one of these scales, (like for example, playing every second key: http://www.youtube.com/watch?v=pFdvoTKgObk) they give the music a different quality than phrases that stay within one key. Watch http://www.youtube.com/watch?v=-YazhxBA7oo I understand you like this piece a lot. Notice how notes that stick out visually correspond to notes that stick out aurally. They are color coded so that notes that are in similar key signatures are close to each other in color. The farther two colors are on the color wheel, the less likely they are to be in the same key signature. You will probably also notice that some sections are all over the place in color and are correspondingly tense. There is definitely more justification for his note choice, but I think you get the point. For any scale, there are five notes not in the scale, which will be dissonant in many contexts. What I think you are doing is you are introducing these notes in a way that relates them to more expected notes. Possibly you are using a synth that plays an interval (rather than just one note) to play a melody, which makes the key ambiguous, rendering the non diatonic notes less dissonant. That's cool, I like it when people do that.

Music theory aside I love what you did with Friday! Was that sampled from the original? Also, all the sliding time warped sounds throughout the set were awesome. Keep doing that! Around 29-31 minutes I love how you left space in the on beats to make the triplets kind of lurch and clatter into the downbeat. Around 36: I love the vocal melodies you make. They remind me of the tonality in "morning mister magpie".