Crumbs. It's certainly a potent new vision for the drums you've got here! So much so, in fact, that I confess to feeling a bit baffled. While I agree that there are broader production issues that need attending to in this mix, rather than just straight mixing tasks, I'm not really convinced that this outlook holds together and I can't really follow your reasoning for proceeding in this direction. The big problem for me is that you've taken the whole production almost into a different style (drum-and-bass?
), which is an exceptionally bold move for anyone to take with someone else's music, but without really nailing that new presentation in the process. In my experience the only way a dramatic production change like this is likely to carry the client with it is if the emotional logic of final product is unassailable, whereas I'd be surprised if you were able to carry the band with you on this particular journey. Full marks for courage (bravery is a lot of what mixing is about, after all), but I'm afraid I think you've made a misjudgement on this occasion.
So assuming that I wanted to try to improve the effectiveness of this new vision, and thereby improve my chances of convincing the band of its merits, what would I do? First of all, I'd not let any tuning or timing issues through the net, the latter especially important with regard to the new triggered snare part. The kind of direction that these snares appear to point is one with more of a programmed feel, in which case you really can't afford to have flams between the triggers and other drum parts, because it undermines the essential rhyhmic drive. I'd also do my best to keep the low end of the mix clear, in order to maximise the power and focus of the kick-drum and bass, but in this case the lower octaves are actually rather over-warm and murky -- fine perhaps for something more gothic, but inadvisable for fast, detailed rock or electronica parts.
Taking the mix on its own terms, though (and leaving my own general confusion to one side), the overall balance is fairly sensible in most respects, the main exception being that I think there could be more careful EQ applied in order to combat frequency masking, and the vocals in particular feel like they need to be clearer in the choruses. Issues of blend and general-purpose delay/reverb use become less relevant in the light of this particular drum sound, simply because the context is more one of artifice than authenticity. There are some interesting creative vocal/guitar effects here and there, which feel in keeping with the radical change of direction overall, and help sustain interest in the less full-on sections.
Overall tonality isn't far off the references, but I'd suggest a couple of decibels more in the 1-2kHz region, which serves to bring out the vocals in the balance in particular. Mono-compatibility of the drums and vocals is rather good, but the main chorus riff guitars do take a dive in mono on account of the wide panning -- although I think they're still perhaps a little loud in the balance even then, and I'd probably pull them down a decibel or so.
I'm conscious that this particular critique may not feel particularly useful to you, but I'm afraid I'm not sure I can be of any more help in this instance simply because I'm not sure where exactly you're wanting to head towards aesthetically. Many thanks, though, for giving us all an entirely fresh take on this material -- even if it does blow my tiny mind!