I do like the jangly tone you've opened the tune with, and it immediately demanded my attention. However, I wonder if it's just a little too bright, because it does make the drums and guitar sound a little underwhelming when they arrive, which would be self-defeating in the long-run.
Overall, this mix has some similarity with huntermusic's inasmuch as it has a good deal of super-low kick energy, but with something of a spectral 'gulf' between that and the low end of the bass/guitar conglomeration. First things first, I would personally be reluctant to put that much sub on a kick in a track as fast as this, simply because it will tend to lengthen the hits and blur the part's details. Depending on your monitoring situation, it's very possible that the sub levels could also impact on your ability to balance the rest of the track reliably, and it does seem to me as if the whole rest of the spectrum has been tilted treble-wards a certain amount to counterbalance the low end. I'd reset whatever low-end enhancement you've dialled in, and try investigating what the 80-90Hz zone has to offer instead. It might not cause your lava lamp to walk along the meterbridge anymore, but I suspect it'll give you more subjective bounce on big speakers, while translating more of the power of the drum onto smaller systems. (It's not that you can't hear the kick on small speakers at the moment, though, because the part's coming through very well in the higher midrange, it's just that it feels a bit lightweight in those circumstances.)
If you approach the kick-drum more along those lines, I think it'll quickly become more obvious that the low end of the bass and guitars need nudging up below 200Hz or so to warm them up. That said, the bass is really nicely controlled and it cuts through wonderfully on the small speakers, while the guitars are kept out of each other's way so that the texture remains pretty clear throughout, and nothing starts sand-papering my ear canals come the mid-section either. (That said, maybe the cymbals could be softened slightly in the 10kHz region during the outro, when the solo guitar hits.) I'd like a bit more of that secondary guitar part in the choruses still, though.
I like the way you've dealt with the lead vocals a lot. They feel chunky enough to command the track, but not so big that they upset the well-judged balances. There is a little too much sibilance for me, though, so it'd be worth putting a de-esser into action. I also like the way you've flown in the BVs in the reintro, and the harmonies in the chorus are interesting, even though they perhaps draw undue attention away from the lead in the grand scheme of things -- although that might just be me having heard the track hundreds of times now without them. The vocal tuning and timing does still need work.
By choosing to keep a fairly compact stereo picture, you've managed to maintain decent mono compatibility, which is great. However, although you do paint out to the edges of the picture in stereo, it does nonetheless feel a little bit too constricted for me, and I'd probably try to introduce more non-essential stereo widening tactics -- some wide stereo background hiss might be a worthwhile thing to try, for example, although be careful not to overemphasise the 10kHz cymbal danger zone.
Thanks for getting involved with the competition. This mix already works very well on an Auratone, which says a lot about your balancing skills, and you've made the long-term dynamics work pretty well too. Your job now is to try to retain those advantageous characteristics while fattening up the stereo presentation, I think.