The goal was to keep it mysterious and veiled throughout. The trumpet at the end is to wrap up the piece and realease the tension.
The trumpet part is very nice, no, I was talking about the last sudden entrance of drums and harp (I think?) on the last two seconds, even after trumpet and piano have already finished the piece.
What exactly do you mean 'bitonal'? I didn't really want a headbangable bass line, more of a bass groove to enjoy. What would you suggest I change to struggle more or allow the bass line to blow your mind?
OK, if I understand you correctly, you want the bass line to come out more. Well there is a simple music theoretical thing with your guitar part until about 0:30: You play in sixths above the bass line. This ruins the bass-feeling in some kind, because we are used to hear everything as a couple of thirds and base the complete chord sound on the tone which is the lowest, if we ignore the real height completely and just use the tonal height (e.g. D and B for you); so in your example we have a D and a B and the D is a third above the B so we consider the B to be the fundamental tone of the chord. Now you play against this listener-instinct because you put the D below the B and our ear is a little confused. Since we heard the D as fundamental tone before, when it played alone, we have no idea where to put the B and that's why I hear the two lines with to different tonal centers, the D and the B, more or less independent from each other. This is what is called bitonality: Two different tonal keys at the same time.
If you want to be your bass line more obvious, you should begin with the guitar part in a third, fifth or octave above it, because this won't shutter the impression that the bass is the boss. For this type of music, probably the fifth might be the best because it sounds like power chords (which are in fact the same: just fifths). From 0:30 on, it sounds right already, because it's just that: you reach an A, which is a (tonal) fifth above D. I'd start with a fifth, too. Maybe you may later change to a sixth, but it should be an increase of suspense, not the beginning.
I just notice the guitar part also ends with H and D with the bass playing the D, the same problem here. 6th intervals are very interesting for middle parts since they often sound more dissonant than they are (because of the phenomenon I tried to describe above), but you should not start and finish with them if you want to have a sure feeling of tonality (a grooving bass line needs that, the listener just needs this feeling that he knows where is).
The overall ending on F is surprising, too; did you already try to simply change the last two note heights, so play a longer F and end on G?
I hope I flatten your music not too much for your feeling.
There is a grand marimba and a vibraphone. i wasn't planning on making this longer, but I'd probly need to change it a lot. It would be repetetive otherwise. I made it in 10 minutes.
OK, so I won't complain about more here.
