I agree with Rixir, music as art is subjective, so you'll never find one true sound that is always good, it depends on your mood and context.

Your topic is something I've thought a lot about lately after making music for 7 years. It's probably the top reason I am pursing other interests lately.  I think it often comes down to a lack of baseline- I'm guessing you don't have  successful musical friends or hundreds of fans you can ask for an opinion.  It's incredibly hard to know if something subjective is good or bad if it only lives inside your head, or on your computer.  Your mood and tastes change day to day and without some form of outside input to curate your creations all you really have is just a diary of your  sonic ambitions.  Most musicians do well to present a certain sound or image, and that usually contradicts having an incoherent collection of random music that you've created.

So your feelings are totally normal, but if you keep feeling like that for years on end with no productive benefit, it's time to try something else. Everyone is good at different things.

Absolutely, Mussar! Tests like that oversimplify the amazingly complex and wonderful world we live in, I just thought it was funny it gave me such a poor score on music. It had one audio question, where it plays a wind & rain sample, and a sample of birds chirping, and asks you which you prefer. I was like, uhh both?

And a lot of the times when i pan the claps, I don't pan it 100% to the right and 100% to the left, I'll pan them 75% to the right and to the left. For example if you're working in ableton, 37L and 37R.

Yeah 75% stereo claps with enough mono power layered in with a snare matches a lot of pro tracks really well. If you have iZotope Ozone or something similar you can load up the Vectorscope and check out the stereo width of claps and snares in pro tracks. 100% stereo will sound unnatural but impressive in headphones. All mono with a bit of stereo reverb may sound constrained. 75% stereo delivers both power and width. A good final result can take 3 or more sample layers: a 75% width stereo clap, a beefy mono snare, and a "interest" sample hitting -15ms to 5ms before or after the other samples to make it unique.

For me, I learned everything backwards.  I had a Virus TI and other soft synths with every synthesis option under the sun for years, and eventually got a Moog Little Phatty. The Moog basically basically only has a square/saw wave, a ASDR envelope, and a LFO.  But the variety of sounds that could come out of that simplicity blew my mind. Now I am back to the Virus and soft synths not trying to turn every little option on, but being more purposeful in building a sound.  Maybe try limiting yourself to the basics of synthesis.

Beginning is really good, I always find it hard to having piano sections sound "authentic" and your piano is great. The kick is fitting. I like how the strings sound like they come in with some sort of synth layer. After the first little break at 1:20 the strings come in full force and I like that, but after another 30 seconds of them going at full force, I feel like they are blaring and repetitive, so I think you could either begin filtering them down, or lessen the velocities to lead the listener into the main break. The main break is really good, and the pacing sounds nice. Endings great too.

Done. I don't learn about arrangement much in media, only because it's rarely covered, unfortunately!

How is latency on the Surface? I know you said you have a Focusrite interface, but let's say you want to take it outside with just a USB powered MIDI keyboard. Would it be useable in that situation, or would you have to have your interface with you?

Ooh nice. I like the little hits panned off to the side, and especially the little pitched up vocal chops that scatter in.  The composition is really cool and I like the arp in the break in the middle.  I wonder if the clap could use some more impact? It's kinda distant and lo-fi right now, which is also cool. I like what you have, the style is awesome and sounds like something I'd hear on XLR8R's yearly downloads compilation.