yeah, sounds like maybe try working on the drums first. you could leave what you have, and layer one or two kick samples for a main kick drum, and a few snares to make a more powerful snare. a good starting point for your snare is to try and have a low, a mid, and a high frequency layer. for the low layer, i actually often use my kick drum sample, just lower in volume and velocity with a bit of the low end eqed out. for the mid layer i look for a sample with good "pop" and for the high something with sparkle. just throw them together and start f-ing with the eqs, it will come together.
the basic idea is to have these powerful (read: layered/eqed/compressed) kick and snare hits, and have several breaks/loops underneath, usually with a high pass filter. these breaks or loops can be anything: rock breaks sped up, breaks from sample packs (usually cut up or rearranged), high hat loops, individual hits you program in, etc. this would be a good place to insert a little creativity
the high pass filter will make the breaks add sparkle and brightness to your beat while the heavy kick and snare anchor it all.
i will usually route my main kick and snare samples to their own bus channel and compress them there. then i route the rest to a percussion bus (sometimes with a further split to include a cymbals bus), and treat those sounds there, usually eq, compression, distortion, whatever. another good idea is to add effects plugins to individual tracks and draw in automation in your arrange window. this can add some movement to your beats.
it is not unusual to have 20-30 (or more) tracks for your beats alone.
seems like you have your atmospherics down pretty well, and your bassline sequencing isn't bad - there's just not enough layers. this is a tough thing to put into words, but to get really thick moving basslines, you gotta do a ton of work. several layers of bass, all eqed to get out of the way of each other, most effected to all hell and back. then, bounced, compressed, maybe more layers. finally (or not), you can draw in some effects modulation for even more fun. this is part of dnb that just requires hours of knob turning. no recipes.
lastly, variation is crucial, and i am definitely guilty of lacking it. you gotta keep people interested. a buddy of mine put it pretty well, he said professional tracks can feel like walking through a building or a house, going through different rooms. anyway, however you think about it, repetitiveness has lost it's cool in dance music.
keep it up man, you're on your way. just have fun and always trust your ears the best. don't forget to check everything you do on multiple sound systems, and i would highly recommend some good monitors if you don't have them already. also, everything i said is just what i do and might not make you any better at producing dnb.
