There's some fantastic creativity in this mix! Unlike some of the more way-out ideas we've had so far, the digital glitch/telecom theme you've overlayed here actually feels very supportive of the band's own music and lyrics, so even though I'd never have tried it myself, I have to say I think it's got a lot going for it. To be honest, if you're going to take it that direction, I'd possibly make the statement of intent even more clear, so that there's no risk that people will think their modem's malfunctioning!
Seriously, though, the best way to pull off a bold character-enhancement like this (in my opinion) is to give it your full conviction, so that the force of your vision (and it's alignment with the music's inherent emotions) will be most likely to win the band over.
And there's more too. How do I love the bass drop in mid-section one? Let me count the ways! Firstly it's just a great attention-grabber, which is never a bad thing, focusing the listener on the new guitar parts for a moment at a point where the recorded bass line is actually fairly pedestrian to begin with. The drop also functions as a way of buying extra arrangement headroom, allowing more of a build into mid-section two. And finally, I actually prefer the bass note you've put in as a lead-in to mid-section two more than the original one. Result! All that said, I'm not quite convinced by some of the bass notes before that point, as they seem to meander without seeming to quite know where they're headed. They just seem to need more logic somehow. Maybe try giving the notes some kind of scalar pattern, as this is a simple way of generating a sense of pattern to the line.
The drop before the outro isn't a bad idea in principle, but the execution doesn't quite live up to the concept, in my view. It's enough, at that stage in the mix, to wrong-foot the listener to some extent, but you go a bit too far for me in this case, with the reentry feeling like it's happening mid-way through a beat (according to my 'internal metronome' free-running after the drums drop out). Maybe you'd get away with this kind of drop before a second verse, or at the start of a middle-section, but by the end choruses of a song like this it's just going to be a recipe for chaos in the mosh-pit! I'd personally try to keep the eight-bar phrase lengths intact from the start of the final chorus onwards for this reason, although you still have lots of room to get seriously creative within that framework.
Those are all good things, but the more technical part of the mix aren't quite on a par with the creative side at the moment (and I imagine that lack of time may have played a role in that). My biggest concern is that the lead guitars and vocals have pretty much swapped mix positions here, to the extent that during the final choruses the lead vocals almost sound like backing vocals, and the lead-guitar riff becomes more like a solo. I like your guitar sounds overall (which charting a very sensible course between aggression, solidity, and aggression), it's just that they're dominating a little much for me. The fact that the effect levels get a bit OTT towards the end only exacerbates the situation, and everything starts to swim undesirably. While I agree that reverb can be useful in creating a powerful illusion of space, if it's taken too far then it begins to sound too much like the band's on the wrong end of a cathedral.
I like the way the bass and drums fit together, and the long cymbal sustain (with a good dose of compressor movement) is certainly along the right lines for the style. The snare, however, feels a bit spitty, with not enough going on in the low midrange to imply real power. That said, the high-frequency seems to be enough to guarantee good audibility during the heavier guitar sections, even when the loudness processing's hitting the end stops. The cymbal stick noise is poking too far forward for me too, partly as a result of the heavy drum compression. Threshold-independent transient processing would be my fix for that.
Your overall mix tonality could probably bear a few tweaks, taming the 3kHz region a decibel or so and adding some more centre at 900Hz. Mono-compatibility is a concern too, because the cymbals are really dulling in mono and some of the reverbs are becoming woolly on account of phase-cancellation. (Mono-compatibility is something that can really separate the men from the boys where reverb algorithms are concerned, but not many people seem to look out for this.)
Thanks for letting us all hear what you've done -- and for making my day with that bass drop, of course! I'm still grinning thinking about it...