You just nailed it. Each track is on point in my opinion.
When you said you did this in 24 hours, do you mean in one litteral day? If it is the case that's really impressive, well done!
Yeah, I've done all of these composing jams with a 24 hour limit to sort of challenge myself. I'll usually take a day off from everything, spend the day before setting up everything in my studio so when I wake up I can just get right to composing, and then kinda just start going.
Each track gets recorded back to back and I try to mix as I do, or do as much mixing as possible. This session was especially fun because it let me just run analog synths through obnoxiously wide reverbs and then swap cables and run guitars / pickup'd stringed instruments through those same pedals.
Every track here uses feedback from a smaller amp, I didn't finish listing my equipment but I ran the strings (guitar, violin, ect) through a Fender Ultimate Chrous, and faced that into a Fender Champion 100 with just it's preset Delay and Reverb, both amps on the clean channel, both EQ'd with the Para-EQ, the Ultimate Chorus the classic original Para-EQ Empress, and the Champ-100 ran through a clone called the Para-Q Nano made by Sine Effects I believe?
Being able to EQ feedback and utilize it to create pads is something I've wanted to do for a long time and felt like it fit perfectly in a project like this.
I guess I started to ramble, but my point was that I spent 24 hours live recording guitar feedback. Each feedback is 4/4 at 80bpm which let me experiment with double time melodies when I wanted too, and even tempo change from 4/4, to 2/2, and even to 3/4.
It's cool, I guess. How I end up abusing these projects to just demonstrate how wild composing music in a traditional yet modernized mindset can be. Is recording feedback and filtering it with analog synths composing? I think so. But I was more than glad to throw some cool stringed instruments into the mix! Especially since it meant I could finally just play some scales on my Samiko Mini, lol.