Well, the high iso (or the light as such, too!) wreaked havoc with your skies in 1, 2 and 10, but you know that, too. Maybe exposing for the lighter parts to later bring back some light out of the shadow parts would have been the wiser move, since there always is more information in the underexposed bits of a photo but none in the blown parts. So for tone-mapping in PS, having the skies right (or at least "righter") and the shadow bits QUITE dark (at first, before PS) is easier.
My favourite of the entire series is 6, though high noise shows most clearly in that one. (Followed by 8 and 9). But the cloudy sky bare walls of the (in part abandoned?) buildings in that one allow for the grittiness which is even underlined by the noise, I think.