Ok, I see the conundrum I'm getting myself into.
Perhaps I have 1 static set of standards which is based on kerises from a particular region and time period. In a nutshell, I'm 'frozen' in one time-space locus of the keris world and seeing and judging the rest of the time-space loci through the same tinted glasses.
In the end, as a collector, do we collect what resonates deeply with ourselves, or perceive what the majority of collectors value and go with that? To be recognized as an established collector, perhaps the latter is more important. And increasingly, I believe that collecting is not so much a knowledge-based (ok, it plays a material role, but not all of it) process, but a political/social process in which recognition is given by the rest of the collectors to some collectors with the right mix of social characteristics (influence, wealth, intelligence, social network, etc). So much so that some of them can start out collecting things that nobody never really cast a second look at, and soon, many others want to collect it too. In the keris world, I think it is not so much that nobody wants to collect kerises as a category, but within the world of kerises, what type of kerises are desirable. Maybe with time, some of the really fancy kerises exhibited at the recent Pameran could be the mainstream desired type of kerises to collect for their creativity and flamboyant flair.
Regarding the keris you have posted, it is a simple keris, but the feeling I get from it is that it is made by a serious student of the keris. It is not the most artistic, but I have the feeling that the intent to make a proper keris is there. The commercial drive behind this keris is not strong, and it certainly does not have the impressive dapur seen in the likes of those new kelengan malela kerises. Forced to choose between the two, I will pick this simpler keris. So in short, I would say this is a keris, and not a KLO.