The latest three sound pretty ok, and also the fourth one too maybe. The ones earlier than that have a couple problems. One of them being the low quality instruments, but you stopped using them so that's good (particularly bad was that zunpet(?) in the halima).
The latest three ones have a nice ambiance to them and makes them more enjoyable to listen to. Although, personally I don't think the latest two invite multiple re-listen throughs because while the mysterious tonalities lend the music its dark, uncertain mood, it's not particularly comfortable to listen to (ie: uncertain mood makes me uncertain/uncomfortable).
Also be careful to make sure that you let the listener become acquainted with the unusual melodies by repeating it enough times before moving on. For example, in SILK, you present that opening high piano in the intro but it never reappears again and is stated only once. The unusual tonality makes it hard to predict where the melody is going and so it's much harder for the listener to remember it. So yeah, economy of material -- use what you have.
The most pleasant one to listen to is the third one ("It Won't End"). The harmonic progression is still unusual but the harmonies themselves are easy to listen to (for one, being more in the middle range) and consonant so also pleasant and not off-putting. I do wish there was some background event happening though to add more texture to the sound. Like an undulating pad or something.
If you want to continue exploring the unusual harmonic progressions and other strange tonalities, I would suggest experimenting in the middle range (like in It Won't End) so that you can properly hear the effects of assembling the different pitches together. When you work so high up higher registers, the lack of resonance makes anything sound acceptably consonant. Mm that reminds me. While the latest three are better, the textures seem to only consist of the melody (main melodic line) and color effects (fluttering piano twinkles, etc.). It's quite thin, so you may want to add a bass or background thin of some kind, like what I suggested above earlier, probably something thing if you want to keep that thin, "space-y" ambiance. Also, you can try adding counter-melodies. Especially if you're going to continue making vocal stuff, counter-melodies/secondary melodies are very good for music that uses the voice as an instrument like that third one.
e: to add one more thought to the repeating unusual material bit, if you don't repeat unfamiliar, unusual material enough for the listener to get acquainted with, then it'll only have sounded like random notes. People can only experience music retrospectively, so if the listener can't remember what the passage/melody sounded like because it was so unusual, then it'll only exist as this fuzzy mess in memory that will only have sounded totally random. And you don't want that. So make sure whatever material you present will be remembered by the listener's short term memory at least long enough to not be thought of as random. Building on how people only experience music retrospectively, this is also why you would like not to only use a material once. Repeating old material later in the music recalls the memory of it in the listener and strengthens the cohesiveness of the music and also is a lot more satisfying and potentially even cathartic or liberating.