I spent some time searching. I like the melancholy longing, the counter melodies, and especially the air of dissonance at the final conclusion and turnaround. How the counter melody turns from laying down bass notes, to an accidental, then finally ascends over the main theme to conclude the short piece with a triumphant, minor phrase is fairly brilliant.
Not quite as clever, some good runs and once again a brilliant turnaround near the conclusion, when the piece wraps around to start. The main brilliance is the illusion of a change in tempo with the lack of percussion, achieved by simply juxtaposing a lingering counter melody with a more lively one. Simple idea, used to great effect.
Very nice composition in the vein of Bach's finest organ fugues. The haunting conclusion is effective because of its utilization of the higher registers, which seem to lend the notes a natural chorus due to the way the data was manipulated into sound. There are very apparent pitch fluctuations and discrepancies.
This one is different. It utilizes some of the key components of the other compositions in my post, however, it is much, much more fragmented in terms of meter. This lends an interesting effect when combined with the pitch discrepancies pointed out in the previous piece de la resistance.
_________________ "We made gods and jailers because we felt small and ashamed and alone. We let them try us and to judge us and, like sheep to the slaughter, we allow ourselves to be...sentenced."
Bastion and Jamestown are a couple recent examples I can think of. Bastion's is absolutely amazing. I actually went back and purchased it after finishing the game, which is something I've never had any desire to do. It works well as a standalone album separate from the game. Fantastic game, too. I think Jamestown's works best in the game as it fits the flow of the levels and bosses incredibly well, but is still plenty enjoyable on its own.