This is one of the wetter mixes we've had so far, but the balance in general is nonetheless very nicely managed on the whole, and there's also a nice sense of dynamics, both in the short term and in the longer term. In particular I think this may be the best mix-only solution to the final chorus entry I've heard so far, which you've pulled of by a clever sleight of hand: by recessing the meatier midrange guitar frequencies during the mid-sections and keeping a firm lid on the bass (it's normally inclined to eat the rest of the mix for breakfast in the second mid-section if left to its own devices), you've then given the main chorus guitar riff much more impact by making sure it's rich in the very midrange energy that the mid-sections were lacking, and the bass doesn't feel a let-down either. An impressive solution to the problem without recourse to overdubs. (And I thought it wasn't possible -- oh ye of little faith!
The bits of this mix that convince me the most are the larger-scale sections, where the richer effects landscape really comes into its own to make the production full and epic-sounding. The snare is a highlight for me, because it manages to make its presence felt strongly, without being either very bright or very spiky -- it's got that elusive midrange sustain that I've already mentioned so often, achieved comparatively conventionally in this case with judicious compression and reverb, it sounds like. For my own tonal preference I'd prefer it to have more high end to bring it more in line with the brightness of the cymbals, but it already functions perfectly from a balance perspective as it is. The kick, toms and cymbals fit together beautifully too, with the possible exception of the low tom, which does seem to boom a little on occasion. I also wonder whether the cymbals might be a bit rich in the 5kHz region, especially in the middle section and outro when the guitar tones get more strident. Switching to small speakers does reveal that the kick doesn't survive too well there, however, so I'd be tempted to give that a bit more high end for the choruses at least.
I've already alluded to the quality of the bass-guitar processing, but it really is exemplary -- rock solid control and a lovely rich sound, but without overloading the low midrange such that the guitars have no room for their own warmth frequencies. It also comes through beautifully on small speakers.
So far so good. However, there are a number of areas where I think improvements could be made. The first main point I'd make is that while the heavier use of reverbs has its benefits in terms of making the very biggest sections of this mix impressive-sounding, I think that the effects are perhaps making the whole production sound a little too smooth and lush. It's not that I don't like 'smooth and lush', but this is a rock band carrying a bucketful of angst, and it seems like it's getting slightly sugar-coated. Back off the returns by a couple of decibels and give the mix a little more overall compression, however, and I think you'll find yourself back on the right side of the line there. More of an issue, is that I think that there's not enough contrast in the effects use from section to section, which waters down the verse/chorus dynamics for me. Get the automation going and pull back some of the more epic treatments for the verses in particular -- it's surprising how effective this can be at breathing extra life into an arrangement.
In addition, I think you could maybe have a bit more front-back depth going on by varying the send levels a little more between different tracks, especially in terms of the vocals, which feel like they could take a good couple of steps forward in the balance. However, I don't think it's only the reverb levels which are holding the vocals back, so I'd probably bring their fader up at least a decibel across the board into the bargain. The vocal tuning could be tighter too, in the choruses especially, and the consonant flams between the lead and double-track are still a bit distracting for me. The sibilance feels a bit out of control on the choruses too, so it's probably time to get busy with a de-esser. The chorus BVs are quite nicely done in terms of having a greater sense of distance than the leads, but I'd weed out a bit of their low mids to avoid clogging up that area of the mix. You've made an interesting choice by panning them to one side only, but it does rather imbalance the stereo picture for me -- there's nothing on the other side of the image performing a similar duty. I suppose you could say that they're balancing the riff guitar, but it doesn't really feel that way to these ears.
Overall tonality might benefit from some tweaks: I found myself adding a couple of decibels at 900Hz and 8kHz, and dipping out a little 3kHz too, to get closer to the Thrice reference, for instance. I'd also have a close look at the phase relationship between the overhead mics in particular, because the mix feels like it's losing a lot of 'height' in mono.
Criticisms aside, though, this is a really nice-sounding mix in a lot of respects, so thanks for sending it in. You've pushed the sense of size about as far as anyone has so far, and it's great for everyone to hear a good example of the possibilities available there.