i agree with what lydian said. learn about harmony and music theory in general, and you'll be able to figure out what it is you like about the songs you like.
to that end, here are some thoughts re: the examples you gave, because ive never analyzed music before and i wanna try it haha. lydian please come thru and wreck me, ur way better at this.
the paul van dyk song. the song is in B minor. or Dmajor.
the first time around the chords go roughly Bmin-Amaj-Gmaj-Amaj (vi-V-IV-V), then Bmin-Amaj-Gmaj-Emin (vi-V-IV-ii). all of the notes played so far fall into the scale of Bminor, so they "make sense" to ur ears. the second time around it plays the vi-V-IV-V as normal, but then it drops down to E and hits what's called a 'Sustained Chord.' instead of being the Eminor chord you'd expect (E/G/B), the middle note is raised a whole note, so it's (E/A/B). this gives it a feeling of tension, that then is capitalized on when that A goes down to a G#, making an Emajor chord. this feels out of place, because normally that should be a minor chord, but it still sounds good. that's called a 'Borrowed Chord.'
the sean tyas song is actually very similar in that it has that ii chord sustained, but it's a little bit more ambiguous because there's less notes going on.
the indecent noise remix. key of Cminor (or Eb major). its' pretty simple, the main plucky melody isnt doing a whole lot but has a delay on it, so it sounds like more notes. the chords are Cmin-A#maj-G#-maj-Fmin (vi-V-IV-ii). the chords are held for a relatively long time, which makes each chord change feel more "impactful," and theyre all descending towards the I (E flat), which gives it sort of an epic feeling.
so stuff like that you can kinda learn about and then you can identify them in songs u like, and then implement them in ur own ways. good luck!
