Played a bit with it, the B' and R' seems to me like a good direction to work with the K'. The more you play with it the better you understand the language and find clean solutions. It is by far much easier and efficient to do it with FA than Illustrator.
Looking great overall I don't like the parallax animations when scrolling, fade alone will look and feel better imo. I'm also disturbed by the blue text on white background, black on blue (logo) ,and Italic titles. I think that the graphic language will be stronger by maintaining consistency of white on blue and black on white text color rule, emphasise messages by size and weight only.
I can't read it (couldn't even in normal formation) but I love the idea. I don't see any reason not to develop new writing systems and think it could be useful in many and refreshing ways. There might no be a need to restrict yourself to isometrics and mono-spacing, the new vertical formation and detachment of the letters are the main issue, preserving the flexibility given by curves and angels you can achieve better results, both of legibility and typography.
@Dave Crossland I think your definition is just a definition of good typeface not of a typeface's soul. A soul is something metaphysic (If at all, it exists in the highest frequency of energy in the base of creation) and I'm not sure if Pablo meant it like that or just as a metaphor. Type is made of shapes, therefore, in a regular manner of thinking it doesn't and can't have a soul, but saying that shapes are just shapes is not true either. An amazing phenomenon is that everything a man does somehow reflects him(/his soul maybe) and he is embedded into it. Make any sketch, and it will inevitably reflect many aspects of your personality and other mental qualities. Everything resonates. Even bad type . This reminds me of Odded Ezer's Skype-type project