My first impression here is that the low end of this mix needs filling out a fair bit, and therefore feels quite lightweight compared with the references. It took around 6dB of low end shelving boost at 50Hz to bring things back into the ball-park for me. If this often happens to you, then I'd be suspicious that your monitoring (and/or room resonances) might be bloating the low end of what you're hearing. The main offender in this case appears to be the bass line, which isn't really delivering anything much in the bottom octaves, despite a great midrange tone which translates well to my Auratone. The kick could also have more welly down low -- the rest of its spectrum seems appropriate for the chorus, but is perhaps a little too aggressive for the verse. There's a good stereo width to this track, and although it's not too wide for the most part, I think that a lack of phase-alignment between the panned guitar multimics is causing their sound to recede unduly in the mono balance -- the secondary chorus guitar and the additional middle-section parts in particular.
Each of the drum/cymbal sounds in isolation seem otherwise pretty reasonable, and the snare has a good dose of sustain to prevent it getting lost in the guitars. The clarity you've achieved between the guitars and snare in the first chorus is admirable, so whatever you've done with the EQ there is working! However, the issue that should now be highest on your list is blend, because the drums in particular sound too much like a collection of inidividual pieces, and not much like a kit -- almost like BFD or something, rather than a live drummer. Either you can try to improve this with short reverb, or you could make use of the overheads, the room, and the spill on the tom mics -- my preferred approach usually, although in practice a combination of both is usually necessary in most cases. (Whichever you use doesn't really matter, though, as long as the kit blends.) It's apparent that you've added reverb already, but it's not really the best type for this kind of job -- too much high end and length.
In addition to this, I'd suggest looking at master-buss compression for a track like this, because I think you could add extra excitement to the mix with it. (It'll also help push the snare spike back into the mix balance a bit, compared with the sustain tail, which will blend it a little better with the texture as a whole. However, for buss compression to work right in your particular mix version you'll need to fundamentally reassess the balance of the lead vocals, which feel much too loud and full-sounding in the mix at the moment, especially in the choruses. If I set up a buss compressor to take 3-4dB off the Chorus 1 peaks, then the vocal severely ducks the backing track come Chorus 2. It's not just a question of allowing you to use a buss compressor to advantage, though, because it's also about the basic decisions that you make as to which instruments are most important to the sound. In a fairly heavy rock track like this, the power and impact of the rhythm section is usually quite a lot more important than the richness of the vocal sound -- as long as the vocals can be clearly heard and understood, then they're probably doing their job pretty well. (As long as they don't sound completely rubbish, but there's little risk of you ending up with something dreadful-sounding, judging by your other timbre decisions here.) Clearly the vocal sound in the verses can afford to have more warmth, simply because the context is so different, but even in the verses the balance feels quite vocal heavy. (I like your lead vocal delay/reverb effects, though!) Are your monitors too far apart? That can be a reason for over-balancing central instruments such as vocals. Whatever the problem is, single-point mono monitoring really highlights the issue -- the vocal almost gobbles up the chorus backing track on my Auratone! To some extent the loud vocal helps with the tricky transition into the final choruses, but not that much given that the guitars at the end of the middle section are so aggressive-sounding (probably a bit too much, in fact).
Finally, I do like your added spot SFX in the reintro (a section which feels like it needs something like that to justify its existence) and in the run-up to the outro. The icing on top of another respectable mix -- despite my focus on the niggles here, you've done a lot of good work, especially in terms of retaining clarity, which is a common stumbling-block for small-studio users.