On the whole liking it. The only thing I personally don't like, as a result of hobby tinkering with such things over the years and developing an ear for it, is the mastering that seems to have been applied. This goes for the first track and to a slightly lesser extent the second: The distortion (odd harmonics) whenever it reaches peak level is a bit too hard - listening continually to tracks with this for a while would cause listening fatigue. Nowadays squashing the dynamic range to the max and often even outright clipping the tracks is all the rage in commercial music, but rather than approaching this "standard" of the big companies I think going in the other direction is musically better in every way. The only drawback is a loss of "competitiveness" in terms of sheer loudness when newer releases by several artists are played at the same occasion (the reason in the first place for the ever-increasing RMS levels at the cost of quality year-by-year).
For going further in the "other direction", if you want to try it, there are some simple ideas (in no way new or unique) that could be tried: Softer compression or limiting in respect to having longer attack time - makes the sound at once "sharper" and "snappier" and dynamically more alive. In then applying softer saturation (you could even try, which may or may not enhance the sound, something adding the first few even harmonics as an experiment - perhaps before compression/limiting, as the waveform would then change asymmetrically), the change in compression/limiting could well compensate for having lesser amounts of higher harmonics added (in terms of sharpness or"brightness" of peaks). These are just some very simple things that could be tried, though.