Vocals in the verses are nice and airy, but perhaps too obviously widened, which seems to detract a bit from the authenticity of the lyrical sentiments. Love the way you've flown the vocals around a bit to other sections of the song, and generated artificial harmonies to fill out the vocal arrangement. (I'd double-check the tuning of the latter, though, as they gave me the odd twinge.) It's possible that you've overcooked these additions during the outro, though, so that it begins to become slightly gimmicky -- that seems to me to undermine the central angst of the message in this song. Careful of the 10kHz frequencies of the vocal sibilance during the choruses.
The verse bass line's widening effect is putting out-of-phase components into the low end of the spectrum, which won't help the consistency (as I've mentioned in previous posts). Maybe high-pass the effect's return at 200Hz or so to head off any problems. The bass in the chorus feels a bit underplayed, though. I like the alternating panning you've got on that guitar riff in the verse, but although it's an elegant solution to a potential stereo-imbalance pitfall in this section, I do find that the cut-out on each side (as it switches to the other) gives the game away too much. I'd probably try to create some apparent overlap using surreptitious copying/time-stretching of the note tails to try to smooth this a bit.
The kick drum works much better for the verse than the chorus, where it almost completely disappears on an Auratone. The overheads hold their own in the mix nicely, but their 3kHz region feels like its hashing the mix out once the guitars really get going in the mid-section, and the whole tonality starts to feel too thrashy. The snare is again balanced sensibly, but would nonetheless benefit from more HF sustain to avoid its timbre clouding over unduly during the heavier-sounding sections. You've blended and widened it very nicely, though. The lower tom sounds rather bloated during the fills, but a little notching of its powerful fundamental should easily sort that out.
Overall the spectrum isn't badly judged, although it could do with more energy in the top octave or two, and maybe a little dip at 2kHz or so. The stereo's got a decent enough width to it, but mono-compatibility could certainly be better on the guitars and cymbals in the more full-on sections. Carefully investigate your multimics and effects returns to find the worst culprits, then look to see whether some phase realignment might help improve things.
The final thing to mention is that this is probably the most extreme buss processing we've had so far, and it really makes its presence felt when the big guns start firing. While I think that no-one up until now has really pushed the possibilities of buss compression as far as I think you could do on this particular mix, it does need to be done carefully if you're to avoid disturbing the balance and long-term dynamics, and unfortunately this mix falls down a bit in those areas. It feels like the guitars and bass are getting pushed down into the mix at the very moment when they need to open up, while the drums are losing presence and definition, and folding in on themselves. The result is that the mix is tending to feel smaller the harder it hits the compressor, which is kind of the opposite of what you want!
I'd recommend taking the buss compression off briefly and trying to rebalance the mix roughly without it, before returning to the buss compression settings and keeping your ear out as much for the side-effects as for the benefits.
Another thought-proviking mix, which opens up a number of lines of inquiry which others might also do well to explore.