Any time you start to build huge amounts of intensity in a track, you're bound to have a few elements lose out in the end. You can do adjustments on the fly with automation, such as moving EQ bands or lowering/increasing volumes, to help keep parts in the frame, but not every sound will make it through in the thick of it.
The thing is, they don't necessarily have to. The human ear can only tune into and focus on about three or four distinct sounds at once. That's why simplicity sells so well: you only need a few decent sounds or 'hooks' in the track to keep someone attentive. The same applies for intense parts or huge transitions. If you have a big riser or FX track taking centre stage, it's going to snap focus away from other bits. That works in your favour! Let the other parts fall to the wayside for a moment, otherwise it's going to sound way too busy, and that's what starts to lose listeners.
If you have a listen to some of Andrew's tracks, especially in those big, intense parts before the track reaches a climax (Nobody Told Me is a great example), there's at least ten or so sounds going off at once. Pads, sweeps, chords, synth plucks, you name it. But listen to how each one shifts around and shares the limelight, rather than fighting to stay there. The chords come in, but then lose some sheen as the supersaw riff comes forth. When the pads reach their swell, the little melodic sounds in the background take a seat momentarily. You can really control how your track impacts upon listeners when you keep in mind that only a few parts will hook them at a time.
It's how producers like Andrew can get away with such a dense, populated arrangement, but not sound like a big mess. Listen to how parts share the spotlight. You only need a few hooks at a time to keep a listener engaged.
