Great! Exactly what I was going for. Although I was thinking more of something like the aural equivalent of sticking your fingers into your eyes and into your brain then you twirl it around your head while getting sucked into a massive whirlpool in the middle of an epic storm...
Oh wait. That doesn't seem remotely close to a bowl of mashed shit, but it sounds awesome either way anyway.
Greg is right, though. I happen to be a fan of delay on distorted rhythm guitars (I'm a total Devin Townsend fanboi), but you're doing it wrong.
The thing is, you never (or, ALMOST never, 99.99% of the time) want to put time-based effects before gain simply because of the way they interact. If you record your tracks dry and then add delay (or, put a delay in the effects loop of your amp and then mic it, which is slightly less ideal since you lose the ability to move the delay around in the stereo mix), what you hear coming out of your speakers is echos of a distorted sound - you hear a huge crashing wall-of-distortion chord that starts echoing and reverberating and sounds like it was recorded in a huge cavernous space. That's cool.
If, however, you add delay before a major gain stage such as a fuzz or OD pedal or your amp's preamp, what you're doing is taking a clean signal with a lot of bouncy echoes on it, and then feeding it into a wall of distortion. It turns to absolute mud - you lose the "echo" effect as the gain compresses the living shit out of it, and the echos blur in with the original notes and turn into this inarticulate mess. You've got all these weird notes ringing against each other, and it just sounds like crap through a distorted amp.
Think of it as the difference between hearing an echo of a note you played, vs playing a note and then playing it again, I guess. Not a great analogy, but not something you want to do if you're trying to create a sense of space.
If you want to delay your rhythm guitars, then record them dry and apply delay in the mix. My experience has been that it tends to sound more articulate if you use a FX send to send the signal to a FX bus, and in thart buss use a tempo-timed delay at 100% wet (so it's all delay), and then high pass the delay to cut out most of the low end, and adjust the bus output to the desired "mix" between the two tracks. Try the high pass filter before the delay too - I can't remember if I've ever experimented (I don't do this sort of stuff that much), but I could certainly see it making a difference. Even doing it the "right" way, in a busy mix you run into mud issues when you're echoing so much of the midrange and the low end of the bass, and especially since your ear tends to latch onto the high end of the repeats a bit more (mine does, anyhow) to "recognize" them, you're likely to get a clearer sounding mix if you just chop out all that stuff you don't really need.
Also, go buy Devin Townsend's "Terria," or at least find a mp3 of "Canada" or "Mountain." It might not be to your taste, exactly, but that first track, especially, is probably the best example of a delayed heavily distorted guitar part just kicking all sorts of ass in a mix. "Earth Day" is worth a listen too, simply because he makes it work in a much more uptempo song than I'd expect. I fuckin' love the production on that album, there's just so much going on.