Thanx a for the quick feedback, it's a compliment already that you take the time to listen&answer.
@42low: the annoying high pitched thingy probably is a synth with the VCF as a highpass with some resonance that is supposed to make a spheric swelling sound, it's not there always, but for most of the song. Doing the whole project on a stone age laptop (single core Celeron M 1.5GHz from ~2005), the number of tracks and the use of compressors/limiters already put ardour to the limit, so I've hardly used EQs and was happy to get the whole thing exported without glitches or crashes. That particular synth track would sure have benefitted from one, and a better reverb than amsynth's built-in would have helped, too, this is very audible right at the beginning.
@ufug The fat bass is half of an accident, although having been a bass player myself, I'm definitely fond such, but it was not intended to be such a typical fat synth - fat I wanted it alright, and that's where some of the scarce DSP resources got invested into a multi band compressor even, but I wanted it more like a natural electric bass, say, a velvet, singing Fender Jazz fretless. But then one thing I
did try to figure out in this experiment, was how to make a song sound equally ok on HiFi and phone speakers, so I featured the frequency range where you can perceive the 'fat' sawtooth VCOs as such pretty well by their overtones, in order to hear what the bass is doing even if your speakers don't go below 250Hz at all really. Another thing I was trying to practice, was to master with a constant high output (and advice on how to get there, judge a mix etc. would be highly welcome, but I haven't checked the tutorials section yet, that would be the right place for a treatise on mastering), I wanted that if somebody would listen to this song in one playlist with commercial recordings, and maybe on a phone, it would stick out by some real decent noise coming out of the speakers at all times rather than having to turn up and down the volume because 'it's art, you know'. So if the result is getting approved as 'absolutely monstrous', that is music in my ears
The lack of dynamics is hence partly explained, but the main reason for that as well as for the duration of the recording, is sheer and plain narcissism. I can hardly get enough of an audiosphere full of guitars - all played by
me 
So if the groove turns out to be the saving grace of the piece and folks let it play for the full 8:41 without turning it off, I'm more than pleased, I'm aware that I cannot expect full & continuous attention the way the song is done, if it's good enough to run in the background, that's fine by me, it's certainly loud enough to still get noticed that way. Don't forget where the song is coming from, it can basically still be defined as "a loop that's good enough to practice soloing on for a prolonged time".
What I am really happy about, is that in such a full, tight and stuffed arrangement & mix, I am not getting any criticism for muddled frequency ranges, lack of definition, one instrument covering the other etc., more so since the priorities I had set for my scarce DSP resources didn't allow me to use EQs to thin out frequency ranges, the main tool I used were gain curves, and that's where half of the editing time went.
But if I should transfer the whole project to my 'better' laptop and invest more work, putting more dynamics into the song without loosing the general 'high energy' feel, is definitely a challenge worth taking up. I wonder how far I could get without recording/writing new lines, so far this is just 2 chords for 8 minutes over..
Big thanks for the input,
J.
