The few pieces by Murail I've tracked down are the orchestral L’Esprit des Dunes, which was quite evocative of deserts, and Partage des eaux, a kind of tour de force of added Messiaenic/ Scriabinian harmonics and microtones; I also had a couple of piano pieces recorded from the radio, Cloches d’adieu, et un sourire… and Territories de l’oubli. And I was at the first performance of his Time and again in the late 80s.
Works like Boulez' Repons or Exposante-fixe are in a similar, and to me ultimately unconvincing mould. Academics and famous music institutions like to go on about how important these minor post-war developments really are and of course many still flog straight Schoenbergianism, but you need to have real musical insight to begin to make things work in these idioms, and I doubt whether regular tonal divisions can ever be meaningfully replaced for art music. There is much value in them, so I like to listen and cover the ground, but I'm under no illusions either.