As for drums, you'll want to investigate saturation and reverb, usually short hall-based reverbs.  The low-mid frequencies on the reverbs can be what makes or breaks the vibe and is really easy to overdo.

As for synthesis, if you want to go retro, just presume that mostly everything from that era was simple subtractive synthesis due to the technology available.  They didn't have Massive or Serum or whatever crazy soft-synth back then, so put yourself in that mindset.  Pick out a few saw or pwm waves on a multi-oscillator synth, detune them slightly from each other, and go to town.  Another thing that era of lead synths was big on (and in use in the Porter Robinson tune you referenced) was the use of legato glide....glide that's conditionally triggered when two notes are overlapping, and also sine wave lfo pitch modulation.  Apply your modulation wheel (I didn't have a midi controller for years...you can still do this in your soft-synth routing) to allow a slight amount of lfo-based pitch modulation and you can start to hear that classic effect come to life.

Part of the fun of production is connecting dots, so this should at least set you on your way and hopefully you stumble upon your own unique way of doing things in the process.