Your beat's got a nice dirty feel. The clap hits on 2, 3, and 4 give it an interesting tension between forward momentum and staying rooted in one place, and that, combined with the piano sustained G on the downbeats of every other bar, give the whole thing a kind of epic quality.

My biggest problems with it: too many octaves for my tastes, and melodically, the whole thing pretty much just stays in the three notes of the G minor chord. As a result, while it does create some dope effects with the different patterns intersecting and crossing each other, the piece doesn't generate much melodic tension, and so can't offer any satisfying release or resolution.

At the same time, as I mentioned, it's nice when the synth patterns start blending and separating (particularly a little after 1:00), and it's an effect that's only created because they're all moving back and forth over the same three tones in different registers. Maybe you could have the sustained piano note change from G to Ab for a couple bars at the end of an 8-bar phrase or something like that, just to give it the sense that's it going places and then be able to create the satisfaction of having it return to the root (G). Just an idea, and I'm not at all sure it would work, but it made be worth trying.

One last comment - I really like the piano sound on the sustained G (the 'bass'), and I don't think that sound should be changed, but I feel like the piano could use some distortion or something with the notes played with the right hand.

peace