Okay I'm little confused by this one, there is no bass, it's all treble maybe that was the point? Lemme read the comments ahhh yeah, okay a solid 4 needs bass to be a 5 but you know that

i was not sure if my speakers had cut out or something lol.
.i guess too much reverb ?
then i see its dnb & i was like what ..

mixings good n.n nice to hear proper mixing after the handful of reviews ive made :p
nice chill dnb lead needs to be spiced up some :p really wish the filter would drop off in to something deeper missing the bass x.x
but for what it is i like it

I really didn't expect that filter to stay the whole time. The lack of a solid bass definitely kills the track. This track had a lot of potential and would be really good if you had transitioned from the high pass filter into something big and roomy. I can see what you were going for though.

+ Excellent melody, structure, and progression
- EQing falls flat on it's face lmao

I thought compositionally this was nice. There's enough variation to keep it interesting. The pacing is perfect. There was never a moment I thought something got too repetitive or boring, and the end is like a triumphant manic dream attack. Well done!

I'm curious - what prompted the decision to do everything with the high pass filter? During the first phrase I thought you were creating tension and would let it open up, during the second phrase I thought you were super brave and going for the gusto, but after that I was a little disappointed. I found it a little challenging to continue listening to be honest. The snare drum is a bit fatiguing as it's always just hammering away at the ears at the same limited frequency range everything else occupies.

If finding a balance between two elements is an issue you can try to separate them in a multitude of ways. Sometimes using a stereo expander to open up the sound a bit can help it occupy more room in the mix. Things can sound a little warbly if you do this by itself, so I usually send the main sound to a bus with the expander on it, then mix both the bus and the original track lower so the volume is the same, but the sound fills the stereo space out a bit more. If you do this with more than one sound, set the stereo field differently so you separate where the sound swims.

You can also try parting the frequential curtains so to speak. This is when being able to see your mix on a spectrogram is really useful. If two sounds are relatively constant, limit the sound of one of them to a concentrated area in the spectrum, then duck those same frequencies in the other sound. Alone they don't sound right, but together they should blend well and will fill each other complimentarily.

For percussion, you might want to try using sidechain compression to auto duck the synth. Make it so the synth will dip in volume subtly when the snare triggers. That way the snare can still have the prominence you want, but you can keep the volume levels lower and more balanced.

Was the high pass an attempt to do something new, or did you have a specific scenario in your head? Creative decisions are creative decisions, but this one was so unique I figured there must be some sort of story to go along with it. Overall, well done musically. The mix confuses me a bit, but I might just not "get it" yet.