B-ananas? That's my first thought. xD
Nice free Cymatics stuff too. xD
So just a couple of things. First of all, why the heck is it mastered to be lower than 0db? That's a bit odd to me. This kind of wobby stuff has to be LOUD!!! That's why stuff like VR's Shindeiru sounds so "in your face". In the mix, it won't sound that way, but that problem will be taken care of with massively ear destroying mastering. If you don't already know, mastering consists of compression, distortion, limiting, and just a bit of EQ. I can't explain how to actually master a track to be insanely loud, but I can tell you that there's a plugin that allows you to measure apparent loudness instead of electrical gain (and those are very different). It's the Youlean Loudness Meter, it's completely free and completely awesome for this stuff. Link: https://youlean.co/youlean-loudness-meter/
Don't be fooled, mastering isn't hard. It puts more pressure on the mix, really. Because of that, I'd say that your next course of action should be taking a closer look at mixing. I suppose for reference, here's my short-ish version:
Instrumentation:
A big part of mixing is actually instrumentation, i.e., making sure that each instrument has its own range of pitches to "live in", so to speak. The worse your instrumentation is, the harder it will be to mix the track.
Stereo Width:
Helpful if you have two instruments that can't be in a different octave, e.g., a piano and vocals. In that case, you could pan the right hand of the piano off to the right, and pan the left hand to the left. There's a bit of mixing still to be done just because the sounds still collide inside the listener's physical head and still mess with the clarity of the song, but you don't need to do quite as much.
EQ Pocketing:
Somewhat self-explanatory. The most immediate example of EQ pocketing is getting frequencies out of the way of a snare. EQ pocketing is the primary mixing technique.
Resonant frequencies:
This one is kind of an oddball in my experience. When you're searching for resonant frequencies, you don't want to just eliminate any frequency that you think is "too loud". The way I think of resonant frequencies is kind of like how filters have that dB/oct thingy going on. In the case of resonant frequencies though, it's easier to think of that slope as a kind of threshold. Here's my system: If any frequencies next to each other increase or decrease in volume faster than that slope, then take out the louder frequency/frequencies in that situation. I sincerely hope that makes some kind of sense, I'm not good at being clear, but that idea really helped me.
Sweetening FX:
Sweeteners are primarily used to either 1) fill out the mix, or 2) purposefully push something further back in the mix. This kind of leads into the idea of thinking of your mix like an actual room, where the dimensions are volume, up and down; panning, left and right; and "apparent-ness", back and forth. (I'll use semicolons whenever I fricken want, dangit!) Sweetening controls that third factor, "apparent-ness". Reverb, delay, etc. push things back, while compression, distortion, etc. bring things forward. Kinda neat.
Sorry about the miniature novel, but I really wanted you to feel equipped to mix a track. Then, mastering will REALLY seem like a piece of cake.