I...actually kind of dig this. It's got a beat; it's got flow. The intro reminds me so much of "Oppression" too. I also really love the way you pan your drums. Sure, the balancing is a bit iffy, but this could make for a boss theme or a cutscene with an intense moment. I do feel like to add that extra punch, you could introduce a low held note as a bassline starting at bar 4 and have it ascend up the chromatic scale.
Additionally, try playing around with the HiClose more. At that high of an octave, it sounds great if you just spread a bunch of them across a barline, randomise their volumes and panning:
Well, it's more about understanding dissonance - and, like you said, knowing which notes are perceived to be pleasurable and which ones add tension. It really depends on what you're making music for. Certain harmonies - or sequentially played intervals - may produce the sound you're looking for. Also, can
@ColdCallerLoopy read music? Because I thought you were referring to intervals on the staff, but based on your note suggestions, it seems like you're referring to minor 3rds, perfect 4ths and minor 6ths.
Just to clarify that you don't want too many "pleasure" intervals, if I may call them that. Too many and the song becomes boring. You'd probably have to delve more into theory/composition, but most people find it pleasurable to the ears when tension resolves. However, you could choose to make music where that is not the case.
Melody and accompaniment is one of the more favoured textures of the classical era... but you don't NEED a melody and bassline to make good music. Arguably. But a good number of people do like melodies. Again, it's all about the kind of music you want to make, atmospheres you want to convey. Sometimes you do want homophonic textures or even parts where there are octaves in parallel. Though I've never tried to make a choral myself in ORG Maker.