I'll focus on Return to Kashmir:
:48 - B# leading tone sounded a bit off since it wasn't substantiated with anything besides a upper register tonic drone, which is a bit of a strange choice. It's generally better other times, until the end, where you have the B# turn into a major triad, in which the mediants of B# major and C# minor are enharmonically equivalent.
Melody takes back seat in this piece. Heightens a sense of repetitiveness, especially in the B section.
C section was best with shifting times and rhythms. Great drop section.