Finally got round to listening to this (Sorry mate).
Bit of a departure this one.
Once it gets going I like the overall feel of this, it gives a feeling of serenity in wide open spaces.

anyway, I`ll try to stay out of issues of asthetics, and look at the production.

Again you are going for this very minimal (but not mnml), very electronic (old skool) sound, which is definitely your thing.
For this sound, due to the nature of this kind of stuff generally being made on classic kit, you really need to go for getting your sounds wide, wet, and very warm.

I find the overal feel to this just a little too boxed in, dry, and digital.

The first sound that comes in, the wierd filtered wobbly one with the delay could do with some nice subtle but quality verb to give it more presence.

I`d say you could give some nice sharp nose to the kick by boosting some top end around 3500-4500 just to give it a touch more clarity as it is a little dull.

then that main synth pad. Again this is very digital sounding and a little too thin and abbrasive I think. Personally I would use a different vst. Something very phat and classic sounding (Superwave pro would be great for this), would be better as it gives a really nice analog movement and width to it`s sound.
Anyway, I think you might have cut too much off the bottom of this pad as I think it should be sounding richer. Some verb, stereo spread (maybe chorus) and a very subtle, but wide flange, would add nice movement to this.

The bass it pretty much spot on.

The top end dissapears once that synth really moves in, to a little more separation would be good here. Also I think the hats could be brighter, and again some subtle verb would do wonders.

I think a good way to think is to look at your tune as being played in the same area or space (say a club, or a kitchen) and therefore everything needs to have a slight taste of this space within it`s sound, to give coherence to the mix and to gel it all together.
It`s your decision to decide where in this space the listener sits, and where in the space each sound is, but it`s a good way of thinking that will allow you to colour your overall sound on each tune in a way that adds more unification to the sound (although some of this process does happening at the mastering stage).


I like this though (anal criticisms asside). The exceedingly slow build and very slow overall change within this tune, is very stoned in a field at summer time, but it works, and is something, when finished right, that would really sound nice on a wopper of a soundsystem.
Trippy, chill out electronica, which I always have some ear time for.