Whoa! That's an awful lot of bass you've got going on there! I'm not sure what you're monitoring on, but whatever it is, I'm afraid that I don't think it's telling you anything useful below about 100Hz. The difference between the low end of your mix and the low end of any of the reference mixes is as clear as day, but only if your monitoring is actually telling you what's going on. Given that it appears you're faced with a situation where you can't really rely on what you're hearing down there, then, what can you actually do to improve the situation? Well, in the first instance, you could have a look at the 'Low-end Damage Limitation' chapter of my book, where I go into this in detail -- it's one of the free-to-view sample chapters available here
. That gives lots of workarounds catering for exactly this kind of situation.
Further to that, I'd suggest removing any EQ or bass-enhancement plug-ins from the kick, bass, and tom tracks straight away, and taking those back to basics. In rebuilding their balance, try not to do any EQ boosting at the low end, because this is I think one of the reasons for your LF problems -- the low frequencies appear to be ringing in an uncontrolled manner, and this just leaves you with a muddy swamp without providing any real subjective power or punch. If you have to EQ to keep the instruments sounding clear and defined when they're together, try to use EQ cuts (rather than boosts) wherever possible. Keep any effects returns which are fed from the drums or bass high-pass filtered to stop them adding undesirable rumble, and also high-pass filter any non-bass parts as high as you can without changing their useful tone (or the weight of their attack) in the mix.
The bass issue puts the whole mix tonality out of alignment, and makes it very difficult to make meaningful judgements about things like relative balance and tone of the instruments. On top of this, though, I'm suspicious that the whole mix is going through some kind of extremely aggressive multi-band dynamics setup, presumable to increase loudness and aid mix cohesion, but this is a sticking plaster that won't solve any underlying mix problems, irrespective of how much the processing tries to smoosh the frequency response of your mix into an static profile. It also doesn't help that it sounds like it's introducing a bunch of very strange pumping and distortion artefacts -- I wonder whether it's set rather too fast. This is the kind of mix processing that's too complicated, powerful, and delicate to start using during the cut and thrust of the mixing process, so if you're using it while mixing, then ditch it -- you'll be able to hear much better what you're doing and the fact that you'll have to work harder to get a consistent tone in your mix will mean that your mix will respond much better to this kind of processing if you choose to add it at the mastering stage. (On the other hand, slower-acting full-band buss-compression is fine at mixdown in rock styles like this, but the reason for doing it is not primarily to increase the loudness or homogenise the frequency contour; it's to 'glue' the mix together, create pumping effects, and/or colour the mix tone. It can be tricky, in fact, to get a rock mix to balance right without hearing the mix in the context of the buss compression, so I usually recommend mixing through it. Mastering processing it isn't, though.)
In the light of these two overriding issues, I'm not sure I can actually provide any more detailed advice about the inner workings of the mix itself with any confidence, because it's very much like trying to hit a moving target. Sorry! Can you maybe upload a version with any of the buss/mastering processing and maybe then I can give some pointers?