I've just been relistening to some of my old tunes from a while back and feel like giving something else a critical eye.
In intro (to ~28): the woodblock rhythm is pretty good -- you're pretty good at working them into subtle fills. Bass modulation is kind of interesting although I'm not that into the melody your bass synth is delivering. This is a pretty airy mix. I'm not that into airy, softly mixed dance music but that's usually because the musicians producing it aren't that good at audio, so they just sound tinny and fake. Yours doesn't really sound that way yet.
I feel like you're losing an opportunity to work the bassline into a fill rhythm: right now where x is base note and X is octave, you have "x-X x-X x-X x-X | x-X x-X x-X x-X | x-X x-X x-X x-X | x-X x-X x-X x-X", but I think it would be more interesting if you extended either the second+fourth or just the fourth into "x-X x-X
x-X-X-X."
Your sidechained pad is landing a minor7 chord, which is cute and suggests you have opinions about chording. It's also cute that you jump up to absorb the 3rd for your VII occasionally.
I feel like the structure of your piece is underselling the hardsynced lead. It could be pretty mean if you introduced it with a change in rhythm or with taking something out. It could break up the piece a lot, but right now the piece is awfully regular and that melody is awfully regular.
One problem I see with the hardsynced lead's melody is that your first jump to the third degree
really sets us up to jump to the fifth or fourth degree on the second iteration, but you iterate the first phrase of the melody almost verbatim before giving us that release. I think you should give us the little release of getting to the fifth degree, and then do something exciting where you currently jump to the fifth degree, like jumping an extra seventh up to the fourth degree an octave higher. That is, you have in the "fill" section of your melody (in Am for ease of transcription, not G#m) "C C D E", but I think you should try something like "C D E ^D."
I think that at this point the rest of the piece is drowning your drums a little bit. Maybe if every so often, for one of the kicks, you just stopped everything? (like, at the beginning of a sequence?) Your rhythm has a lot of verve but it never really stops. I think a hallmark of this relentless kind of dance music is for something rhythmically interesting to happen that signals the kick at the start of each iteration of the beat.
One way you could do this might be to periodically land a less sidechained version of your sawy pad at the same time as your kick, then introduce the rest of the pattern with a dotted rhythm. So where you currently have this:
SAWY | - X - X - X - X | - X - X - X - X | - X - X - X - X | - X - X - X - X
KICK | X - X - X - X - | X - X - X - X - | X - X - X - X - | X - X - X - X -
you might do this (note the rhythm difference in the third measure!)
SAWY | - X - X - X - X | - X - X - X - X | X -x- X - X - X | - X - X - X - X
KICK | X - X - X - X - | X - X - X - X - | X -XX - X - X - | X - X - X - X -
That gets you a subtle effect of call and response that doesn't interfere with your melody etc, and lets you draw attention to your (actually pretty thick) kick.
Also at some point here you introduced this fun monophonic pad playing minor scales aligned so that you land on the scale's second degree immediately before reaching the III introduced by your bass, when you jump up to the scale's fourth degree to get an implied major 9. That's fine but I think the second degree<->fourth degree jump sounds a little weak unless you draw attention to the weak fourth rhythmically. Also, you switch from simple descending to ascending in the last measure and you don't give listeners a peak at the beginning of the fourth measure. So where your current melody is this (in Amin instead of G#min for easier transcription):
E - D - C - B - | D - C - B - A - | E - D - C - B - | G - A - C - G -
you might borrow more time for the D and raise the G an octave to neaten the slightly awkward B<->D jump and replace the weak "ascend three, ascend one" with a stronger "jump up six, drop seven". Minding that I don't think this will work without support from your drum rhythm, and it's hard to do implied ninths/sevenths without at least throwing in an unsubtle perfect fifth somewhere, so I threw one in after returning to the root.
E - D - C - B - | D - - C B - A - | E - D - C - B - | G^- - A E D G -
The tom rhythm is pretty good and I don't have a real complaint. You might throw some subtle flams or rolls to keep it rhythmically interesting without losing the pace you currently have. (since a lot of dance music breakdowns signal "I am getting out of this breakdown" by returning to rhythmic form, you probably don't want to lose pace here imho, despite how most of my other advice is mostly suggestions to break up the rhythm)
Return of simple bassline and original drums is acceptable. After tom breakdown it sounds like the song is mostly repetition of parts you already had.