The paper explores the concept of "Entanglement HCI," a new wave of research in human-computer interaction (HCI) that emphasizes the interconnectedness of humans, technologies, and their environments. It argues that while this paradigm shift is promising, there is a need to avoid narrowing the discourse to a single theoretical canon and instead embrace a diffractive dialogue that draws on multiple disciplinary perspectives. The authors use the examples of keyboards and step sequencers to illustrate how technical knowledge from design and engineering can be read against the grain of critical theories from music, media, and cultural studies. They highlight the interdependencies of theory, design, and practice, and show how the idea of entanglement is itself entangled in a cross-disciplinary web. The paper also raises questions about the practical implications of entanglement theory, the risk of reifying concepts into fixed formulas, and the need to balance theoretical insights with practical applications. It emphasizes the importance of considering the social, cultural, and political contexts of design practices and the need to avoid a narrow, anthropocentric view of human-technology interactions. The authors argue that entanglement theory should be understood as a dynamic, evolving framework that can be applied in various contexts, rather than a fixed set of principles. They also highlight the importance of considering the ideological underpinnings of design practices and the need to challenge dominant narratives in HCI and musical interaction. The paper concludes by calling for a more inclusive and interdisciplinary approach to entanglement HCI that acknowledges the complexity of human-technology interactions and the need to balance theoretical insights with practical applications.The paper explores the concept of "Entanglement HCI," a new wave of research in human-computer interaction (HCI) that emphasizes the interconnectedness of humans, technologies, and their environments. It argues that while this paradigm shift is promising, there is a need to avoid narrowing the discourse to a single theoretical canon and instead embrace a diffractive dialogue that draws on multiple disciplinary perspectives. The authors use the examples of keyboards and step sequencers to illustrate how technical knowledge from design and engineering can be read against the grain of critical theories from music, media, and cultural studies. They highlight the interdependencies of theory, design, and practice, and show how the idea of entanglement is itself entangled in a cross-disciplinary web. The paper also raises questions about the practical implications of entanglement theory, the risk of reifying concepts into fixed formulas, and the need to balance theoretical insights with practical applications. It emphasizes the importance of considering the social, cultural, and political contexts of design practices and the need to avoid a narrow, anthropocentric view of human-technology interactions. The authors argue that entanglement theory should be understood as a dynamic, evolving framework that can be applied in various contexts, rather than a fixed set of principles. They also highlight the importance of considering the ideological underpinnings of design practices and the need to challenge dominant narratives in HCI and musical interaction. The paper concludes by calling for a more inclusive and interdisciplinary approach to entanglement HCI that acknowledges the complexity of human-technology interactions and the need to balance theoretical insights with practical applications.