Always fold channels into main instrument groups — this allows you to keep the project organised and see the top-level folders at a glance.
Drums are always a mix between electronic (Serum) and organic layers (Addictive Drums 2).
The kick alternates every one beat, with an identical copy, phase flipped. The flip is to phase align the kick with the sub/bass. As the bass changes in pitch throughout the track, the original kick wanders out of phase.
Layers in a noise sound, over the kick, to help it cut through the mix.
Snare made the same as kicks, with top layers for stereo width. There's a snare layer that plays just before the main snare that draws your attention one way, just before the main snare lands. In this particular track, there's a kick layered underneath the snare that gives the track a 4/4 feel.
A common theme among Mefjus basses is using distortion to pull out harmonics.
MV: A commonality I've noticed across many artists in this genre, Noisia, Culprate, etc., is using saturation on everything. Saturators apply harmonic distortion, which adds in additional harmonics that relate musically to the sound you're processing. This provides a thickening effect across the track as you're adding in additional frequencies.
The main bass riff is a single channel that's sent into five different FX chains creating all the variations (being automated throughout the track). This is how Mefjus approaches creating multiple variations from a single synth patch.
The bass is all made in Serum.
With the synths, there are multiple instances of the same Serum patch with different harmonics pulled out, or FX applied. This keeps everything locked together, but provides enough variety to keep the listener engaged.
If you have a good feeling about a track, but it doesn't come together quickly, don't dismiss it, give it another ago — there's a reason you've got a good feeling. The difficulty you face in the beginning only makes it that much sweeter when you finish the project.