The overall mix tonality here is a bit of a sticking point, I'm afraid, which makes it difficult for me to judge many other aspects of the balance. You've got masses of 200-800Hz, which gives the whole production a rather boxy sound, and the response drops away very steeply below that, such that the low end feels very lean compared with the references. Trying to bring out the low end better using EQ over the whole mix reveals that lowest LF information in the mix is coming from the bass, but this only extends to about 80Hz, leaving the bottom two octaves of the spectrum largely untouched. In most people's mixes the kick's low end has been used to fill out this region, but here it sounds as if the kick has been high-pass filtered at 100Hz or higher so that doesn't help out here in the same way. I can see that you might have had trouble dealing with this with mastering processes, and that's usually an indicator that something in the mix is fighting what the mastering is trying to do.
The kick drum also feels very quiet in the drum balance for this style, and doesn't make much of an appearance even on small speakers. The snare, on the other hand, has a different problem, namely that it has some kind of fairly extreme stereo effect going on. I'm not sure what it is, but it's making it very difficult to work out where the snare is coming from, which is disconcerting to listen to in stereo and also causes a big balance/tone shift when you move to mono listening. The cymbal image is also pretty wide (and suffers the same kind of issues in mono, albeit to a slightly lesser extent), which makes the very narrow tom-track panning a bit puzzling relatively speaking.
The guitar sounds are pretty respectable, without any danger of harshness, although the mono-compatibility is again a little suspect -- I think it's probably those multi-mikes causing phase-cancellation issues again. The bass feels like it could do with quite a lot more dynamics and automation control, because it's really jumping around in the balance. In music like this the bass needs to hold its position in the balance with supreme confidence, especially given the comparatively interesting line played here. The vocal sound is doing a reasonable job on the whole, but it does appear to have been gated with too high a threshold -- you can hear the gate cutting off softer consonants in the verses, such as the 'f' sounds of 'flawed' and 'fraud'. There's no real need for wholesale gating of the lead vocal in this track, because any bits of extraneous lip noise between phrases are so easy to edit out or remove with fader/mute automation.
The effects seem to me to be rather reverb-heavy, where a more even blend of delays, reverbs, and wideners would probably achieve blend and size more successfully. The reverb choices you've made could probably be reassessed too, because they feel like they're pulling everything rather a long way away from the listener. (A bit of a dip around 4kHz in the overal mix tonality doesn't help with this either, of course.) Choosing the preset/algorithm you start work from is an important step in the process, so don't rush it, and then make sure you give enough time to EQ and predelay in the effect-return channels.
Overall, the impression I get is that you're trying to overreach yourself here, in terms of getting into detailed processing and effects before you've really given the tracks a chance to speak for themselves. Alternatively, it might just be that you were feeling a bit rushed by the impending deadline and tried to push on too fast with your normal mixing process. My recommendation would be to try putting together the best mix you can of this track using just faders, mults, high-pass filtering, polarity inversion, and phase adjustment -- no other EQ, compression, or effects. Once you've got the best raw balance you can like this, compare it to the references to get your bearings and refine it further. The longer you hold off adding in any other processing, the better I think you'll develop your instincts for what instrument should be where in the mix -- and the more sense the other more complicated processing decisions will start to make.
Thanks for letting us hear your work!