Amazing, I love all of your music

'-' nice

First impressions:

I love the pluck bass you have in the intro, overall pretty cool vibe going on in this funky little intro, I don't like the detunned bends on the lead near the ends, but that's about my only complaint, and an opinion at that.

Next little section is a very nice little build up, simple and effective. I LOVE that you add good dynamics and velocity automation on the directwave piano. A simple and easy recognizable piano, but can sounds SO good with good velocity automation. Big props here.

next little section gets a little muddy around 1:40 with a ton of things going on. I love the idea you carried back into here with detuning things near the end of your section, makes me think of the beginning and appreciate it a bit more.
The section at 2:00 sounds like its going into a pretty good drop, but then immediately sounds like another lead up. so you have a lead up into a drop that immediately turns into a build up, just made me a tiny bit uncomfortable. That "empty drop is FIRE." I call them fake drops, a lead in into a drop that is very empty and big and simple. Always a fun surprise for me.

Overall just a LOT of great idea in this whole song that it feels like you keep just wanting to reintroduce and add on top of other great layer. ADR3 said it really well. This is great but i also have this great thing but also this great thing i want them all to be heard. theres also in general a LOT of melodic content throughout the whole song, and i really wanted to find a singular idea or maybe two ideas to latch onto and bring me back home, but instead there are 7 or 8 really great ideas and themes and I dont know what to love so now im lost. but the journey was SO FUN.

Some overall mixing gripes i have like just alot going on around 5:38, once you pull everything away in this chaotic drops (i dont mean that in a bad way) your ideas are so cool during the quiter parts! I love the ideas in your brain and would love to see them executed more clearly. overall great! I love this submission!

I really like the overall idea of this piece, but at points it's hard to hear what you're trying to do. It feels like you put in a lot of effort into making this piece sound special, but not really knowing how to accomplish that made the bigger chorus sections stack on top of one another until the melodic elements crumpled in on themselves -- and I say this with absolutely no offense. Listen to some of my older pieces and you'll see I had the same problem. Sometimes still do when I write tbh. It's so tempting to keep adding spice. But soon the dish is nothing but peppers, if that makes sense, and you can't taste the meat.

Mix wise, the glaring problem is reverb. On solo instruments and small sections, it's not super out there, but on your choruses, I would drop the wet signals down by maybe even half, shorten the tails, and EQ or multiband compress from 0 hz to 250 hz down several dB.

Transition at 1:42 is a little messy, busy sounding note wise. Same with 2:07 on that bass. The transition there is cleaner.

2:29 I would actually say your percussion is a little too loud in relation to the bass. It becomes clear why later -- the other synths that come in are too loud. Really I feel everything except the percussion throughout should be turned down so that the bass can be clearly heard.

By 3:35 I thought the song was ready to wind up. I'm aware house tracks can go on for ages though. I'd really prefer something other than that really basic piano synths. Even a triangle wave would sound better to my ears I think.

A lot of things going on here at 4:52. I'm not really able to clearly hear anything going on because of too many moving parts. Open this project back up, and start muting busy saw instruments and see how much more intelligible your idea becomes. That difference is what I'm hearing on your drops.

So I can hear very much you're ambitious and have the drive to go the extra mile. I think maybe studying the principles of structure and transitions would help you most -- then lead writing, in that order. The main problem here seems to be, "I sense I need to bring out something different here, but I don't know really what to do -- I've already made X part really cool. I think I'll just add Y and Z." But we do that without taking anything out of the equation for each new drop. so by the end we have confusing layers of sound that are hard to interpret for someone who hasn't heard the song 200 times like you have while writing it, you know?

I've been recommending this video a lot lately, but search up Kush After Hours, rule of pairs. It's a short video on how to write great transitions, and I think it'll help you a lot toward achieving your vision in future songs.

Thanks for coming out to NGUAC!