Mmmmmmm liking the downtempo vibes and chill progression :-)

Also liking the panning between the hat samples as well, nice use of subtle cues to expand the stereo image. And your use of what might be either two panned delays on the vocal samples, or a pingpong style delay maybe? is a nice touch.

There's a fun thing happening where the center section gets defined by the centered material and middle section of the stereo image gets defined by the hats, and the wide range gets defined by the delay work, it creates a nice sense of lateral movement and space.

Am I hearing things, or is there some kind of subtle reverb on the snare samples? like... a really long reverb tail really low in the mix with a significant pre-delay? if so, good call!

There's a nice sense of foreground and midground you're creating here but I can't shake the feeling that I want more background depth. Like, I want the song to feel a little deeper in the forwards dimension because of how spacey the song feels.

One thing I like to do to help recreate the sense of depth in my mixes is to add subtle reverbs and put an eq pre reverb effect on stuff, generally i start with drum stuff, like snares, toms, overheads, and hats, send a little to reverbs that are set up with predelays around 30-80 ms depending on the song (just enough to pull the reverb away from the original signal and keep it in a timing pocket that fits with the tempo of the song, i usually think 48th or 64th notes) then shape the eq that's inserted before the reverb effect on my effect send.

Generally I'll do a high pass filter between 100-200, and a low pass filter generally between 5k-10k then put a bump somewhere between 300-600, or if I wanna accentuate the snare "crack" I'll put it somewhere around the 1k range, then close my eyes and bring the send up on the sound source until it feels like it's adding just enough to create a vivid sense of depth in the forward/backwards dimension, there's some left right techniques you can play with with very quick delays that recreate primary, secondary and tertiary reflections on the sides and what not, but your lateral information is fine so I wouldn't clutter it up with other shenanigans :-).

Playing with the EQ on the reverb basically affects the kind of material the surfaces causing the reflections are, if they're soft they'll absorb high end, meaning you roll off top end to create the sound of soft material on the walls, if they're hard they won't etc... And the predelay affects the distance from the surfaces creating the indirect sound paths, giving the ear information about the size of the space and the general location of the sound source in relation to the walls.

I then move to other material I think needs it, but in this it feels like there's already a lot of verb and delay work being done on the other mid to high range material so i'd just play with the snare and hat stuff.

All in all I like the vibe, would love to hear a longer format track with these ideas, like, a shifting ambient soundscape with these ideas in it.

Nice use of evolving synth sounds too in the lead instrument. And how the evolving synth lead steps into the background when the bass steps forward, nice direction of focus in the listener!