I really enjoy your mixture of consonance and dissonance here. You never really approach or depart from those consonant chords too abruptly, leaving basically everything sounding dissonant in context, even when it's not. This is something reminiscent of one of my favorite composers, Toru Takemitsu, so it's always nice to hear this idea being utilized so well.
It creates an atmosphere that sways between uneasiness and calmness. Mostly uneasiness. With the addition of all the background noise: the subtle whispers, the string screeching, the cymbals, etc. are all wonderful and important additions. Looks like I'm going to have to reinstall Oblivion. Good stuff, Chris.