Well, I think the competition for most sub on a mix has just been sewn up!
Seriously, though, there's way too much going on here in the bottom octave-and-half. Even setting aside the fact that the references have nothing like that amount of sub, there are good practical reasons for reining it in. Firstly, you'll have difficulty reaching a competitive loudness at mastering, because low end is usually the main headroom bottleneck. Secondly, you won't be able to turn it up as far on a full-range playback system before the subwoofer parts company with its cabinet. And, thirdly, a lot of small playback systems will distort unmusically at what feels to the user like a comparatively 'safe' listening level, simply because the speaker/headphone driver is trying so hard to recreate signals that are beyond its capabilities.
Speculating for a moment, this low-end issue leads me to wonder whether you're carrying out sufficient small-speaker checks on your mixes. On both of the small speakers I've got permanently rigged up in my own system, the kick-drum all but disappears during the choruses, which makes the rhythm feel rather lop-sided. And those are still three-inch and four-inch cones -- I'd expect a laptop speaker or pair of earbuds to fare even less well. Irrespective of whether you feel you need to hear the kick on small speakers, though, the very high sub levels do make it quite difficult psychologically to judge other aspects of the balance on nearfields, so checking on small speakers would help to clarify your mixing decisions regarding the rest of the musical arrangement. (I also wonder whether your own monitors are adding distortion artefacts to the low frequencies, as a lot of mid-market ported speakers do, so that they seem fuller in the midrange than they actually are, because I notice that the bass is also very much focused at the low end, and while it's audible on the smalls, it does come across as rather dull.)
Regardless of this overall tonality issue, however, I also think the bass sound could dominate slightly less in the lower midrange, because it leaves the guitars sounding a bit thin, where I'd hope for them to have more subjective power. This is exacerbated by a certain amount of 400-800Hz scoop in the mix tone as a whole and a bit of hyping in the upper octave (the latter presumably partly in order to balance the heavyweight low end). The problem of vocal sibilance also raises its head for similar reasons, but the esses still feel out of line even if I try to compensate somewhat for the mix's general timbre using master-buss EQ. De-essing looks like the order of the day there.
Beyond the issues with the kick drum, there are a couple of things I'd look to tweak with the rest of the kit. Top of my list would probably be to round out the snare a bit, so that the attack is pulled lower in the balance and the sustain elements therefore take a relatively more important role. This might also address what feels like a slightly low overheads level too, but those tracks might need a bit of a boost and/or some additional compression too. The toms seem pretty well balanced, although it sounds a little strange that they don't have the same kind of sense of reverb as the snare in verse 2. (I also found it a little off-putting to hear the snare coming slightly from the left, although I realise that in a real kit it is indeed to one side and I know that some engineers (Andy Wallace, for instance) do like to crack the panning of central instruments a fraction off-centre to aid separation.)
I quite like the way you've dealt with the vocals (sibilance issues notwithstanding), which are well-controlled dynamically and nice and wide-screen, despite the remaining waywardness in the tuning department. However, I think the reverb has too much high end to it, which means we're getting an unwelcome George Michael-style reverb 'hiss' on consonants. (Aaaaaa... tschoo!!! Sorry -- I'm allergic.
) In a general sense, though, I like your effects use here, which sounds like it involves a number of short 'under the hood' enhancement patches in addition to the longer tails. The guitars begin to sound a bit washed out in the mid-sections, though, so whatever you're adding there could be backed off a couple of decibels.
One of the things I like most about this mix is that you've managed to give a respectable sense of stereo width, while still retaining good mono-compatibility -- I think it's one of the best examples I've heard so far in this respect. It's not that nothing changes in mono (you can't have no change at all), but the changes all seem relatively benign and don't appear to dramatically impact on the character of the mix sound or balance. Good work there! The only real casualty of the switch to mono, in fact, appears to be the BVs, but I'm not sure that's much of a disaster in the grand scheme of things.
Thanks for this mix -- it's nice to see a real advance in the mono-compatibility stakes in particular.