There're two basic attitudes of musical appreciation. (At least, musical appreciation in the sense of the arm-chair sitting headphones-hearing eyes-closed activity) (Like let's put aside dancing or social signalling or performing or etc.)

On the one hand is the sensual. On the other is the conceptual.

The sensual is all about the feel, the texture, the timbre. These are examples of that approach -- notice how immediately (almost grotesquely) present the sounds are in each, how e.g. the harmonica in the Led Zeppelin track sounds more like a harmonica than any "real" one you've ever heard.

Mood, texture, layering, the physical pleasure of hearing.

The conceptual on the other hand is all about the ideas, the structures, the abstract & theoretical. Here're three examples of that. The value isn't how it actually sounds but what it's trying to say. So the lyrics/melody of the first, the interconnectedness of the second, the pop melodicity of the third.

Theme, meaning, purpose, the mental pleasure of comprehending.

And ok, so you can't ever really do one without the other, but most stuff leans one way or the other and definitely most listeners give more of their attention to one side rather than the other.

MBDTF does both. If you're a conceptual type you can't just write it off, and you'll be able to acknowledge a listening attitude you usually ignore. If you're a sensual type you won't want to write it off, and you'll soon find yourself discovering patterns and ideas and the kind of stuff you don't really listen for at all.

So everybody walks away thinking "That had more to it than I could have imagined." Therefore "work of genius."