I love you.
Seriously, this is nice. The way that the bass constantly shifts on the last sixteenth note of each measure paints a sonic picture of the hunter's discomfort in the cabin. Speaking of which, lovely story. It definitely helps contextualize and enhance the composition.
The harmonic progression is my favorite aspect of this piece. Your use of borrowed chords to create a chromatic bass-line is lovely. One of my favorite techniques actually. There is one change that I would love to hear though. The chord on bVI at :31, where the bass plays in ocatves? I really wanted to hear that instead as a french augmented sixth chord. So instead of going from bVI to bVI and octave up in the bass, it would go from bVI up to #IV, which would resolve up to the V in the next chord as the bVI resolves down to the V. It would have put more pressure on the dominant, which seems fitting with the string of pre-dominants you use.
The strings added a further layer of depth to this piece. That part at :38 to :41 in the strings was nice. Oh so very creepy. The piano is also very nice. I'm guessing it was sequenced based? Or was it just heavily quantized to keep with that sixteenth note pattern? If it was sequenced, the velocities were varied nicely.
For extra creepyness, a bowed waterphone sample would contribute significantly. A heavily reverbed, distant-sounding oboe line would also be awesome...Basically, an orchestral version of this would rock my face. :p
Excellent work. Your composition is simple and yet holds enough small harmonic and rhythmic complexities to make it accessibly sophisticated. Make more music. Now.