A-ha! I gave you a "like" for your observations but take exception to your view of the Locrian. It's there, it isn't artificial and if one isn't careful using it, it can turn into the Phrygian mode all too easily if you avoid it's "final" (note I, B based on modes starting on C).
You're quite right, it has no place in the styles of music that you like and in which you compose. But one of America's "great" symphonists and an utter professional uses it a lot. Others use it to avoid the over-clear definitions given by the Ionian, the Aeolian and its modified minor scales. As Luis says, we've been fed major and minor for so long now that our ears tend to reject anything else as weird.
But I suppose a composer's search for new ways to arrange 12 notes in an attempt to produce originality has led to an exploration of many other systems of constructing melody and harmony (many of which you probably don't like - neither do I !!). I'm happier working with something weird like the Locrian mode mixed in with my general harmonic procedures than I am with that dodeca-cacophonic stuff.
That's a new word - dodecacophonic. Most apt!
So it's just a question of appreciating that the Locrian mode can be used these days, sometimes with good effect.
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