I. Some of the volume levels feel a bit out of balance, and I would run the grittier low-end synths through a filter or two so as not to disturb the piano, which does not stand out much in expressiveness, though it's a nice motif with lots of potential.
II. The kalimba sounds nice, and it's certainly a more fitting texture for the motif than mere piano; I learned that on my work, as well. The second piece in general is superior to the first. The flute's timbre is immaculate, the kalimba's overtones add a dark texture which is just ineffable, and the pentatonic runs in the distance, while introducing the occasionally mismatched dissonance, nonetheless add atmosphere. Everything is mixed together well on this one.
III. Your electronic ambience is very honed on this one, and the chord changes are expressed very mysteriously. I would have loved to hear this one developed further.
IV. You really saved the Beast for Last with this one. I'll have to listen for a second time if a full accounting is to be made. Everything which you've introduced up until this point in terms of instrumentation and composition comes together in a wholly unpredictable manner which is ominous and sedative all at once. This is sophisticated.
Overall: It feels like hearing one composition, over and over again, through various different sonic lenses, as it matures from the acorn to the majestic oak tree. Four Stars in every category.
[({R.G.||S.M.G.)}]