I agree with neutrin regarding the drums. I didn't notice anything about them being offbeat. They sounded just fine to me. I'm listening to the mix and to be honest nothing sounds off to me. Really good job with the balance of all the elements. At no point did I feel like any elements were fighting for space. 1:43 was my favorite part as well. Has a seven lions feel to it and to be honest he's one of my top inspirations. I'm not sure if he's one of yours but you definitely managed to capture his sound with the whole "trance-step" vibe. At 1:45 may I ask what you're doing with those saws as well? It sounds like you got the chord, chopped it into an audio, and applied fade ins to give it that "rising" effect.

I could be completely wrong though. Just mentioning this out of curiosity.

With that being said I've preferred some of your earlier tracks over this one. What you have here is good for sure but to me it's an average track. (I mean this is the most non jerkish way possible)
If someone were to ask me whether I liked it or not I would say yes but I wouldn't put it on my iPod you get me? I can't explain to you exactly why but at this point I'm assuming it has to be more of a taste thing.

Either that or my ears just aren't developed enough to be able to tell you yet. Either way good job on this track and I look forward to hearing more.

Thanks a lot guys for the tips. It seems like the extremes of both volume levels "too loud or too quiet" seem to really bring out the flaws apparent within your mix. Whether an instrument is too loud becomes much more apparent at these two extremes.

Seeing as I can't afford another set of monitors aside from my KRKs I'll make sure to monitor my mixes on different sound systems in the future. I have two good quality headphones, a set of monitors and a pair of consumer earphones. When I listen to professional mixes they sound just as good in those consumer earphones as they do on my headphones or KRKs. That's what's missing in my mixes and what I aspire to achieve with more practice.

I can live with that, haha. What in particular turns you off about the ambience?

I have to be careful about what I say here because I'm not 100% sure. This is my guess though.

I think somewhere midway through the song (1:00) the "ambience" gets a bit too loud. Either that or it has something to do with the "fuzz" you have going on in the high end. You know what I mean when I say fuzz? It might just be the high end specifically that gets too loud.

I think the whole point of ambience is for it to remain in the background whereas in this track it seems to be too audible.

Again. This is just my guess. I wouldn't actually know whether that was the thing turning me off about it unless it was my project file and I was able to slap an EQ on the ambience and test a few things. At least I know I got some work to do as far as defining my tastes goes.

But the truth is, I'm pretty good at playing metal, and chances are that that person would feel the same way if they heard me play, just because they don't know how to play metal!

Do you even "djent" tho? 

You know... I don't think it's bad. It's not really my cup of tea though. I can't really explain why though. It's probably more of a taste thing on my part but I will add that I enjoy listening to 0:30 more than anything.

Really beautiful atmosphere you managed to create. Not a whole lot of highs which makes it easy on the ears if that makes any sense. The "deep" progressive house isn't really my go-to genre but I found the arrangement to progress quite nicely. Didn't find things to be to repetitive. I think some parts would sound great with male vocals like the kind you hear in above & beyonds tracks.

Granted I'm not the best at mixing but nothing sounded particularly off to me.

The only thing that I think its missing is something to make the track special. I think the atmosphere you managed to create is what made the track for me.

Not sure if this is what you're talking about but I'm gonna give your question a go.

I use logic pro X and if I want to use a kick to trigger a side chain but don't want to actually hear the kick playing I do this.

I program the 4/4 kick pattern and then on the mixing console I change the output from "stereo output" to Bus 1 (2,3,4,5,6 doesn't matter)

Once I've sent the kick to a bus I go to the output on the bus and remove it. I don't know what it's called because logic isn't open right now but basically you remove the bus output so that you don't hear the kick playing from your master. The kick is still going into the bus but no sound should be coming out.

Finally get the track that you would like to side chain and slap your compressor on it. From there you just set the side chain to the bus in that dropdown menu in the top right corner of the plugins and the kick should trigger the side chain without there being any sound from the kick.

That's my understanding of "trigger" side chains anyways.