I don't have too much specific advice, but I can tell you how I'd approach it in general.
I would start building the mix with kick and snare. The kick's the 1 and 3, the snare's the 2 and 4. You want to represent all those beats fairly equally. I would probably include the overheads at this point in the process since they affect the sound of the snare. The kick probably needs some sculpting, but I can hardly hear it in your mix. It may need an upper-mid boost for clarity and/or cut some mud.
Once those are balanced I'd bring in the vocal. Kick, snare and vocal should be a rock solid group. The vocal may need eq, editing, compression.
Now I'd bring in the bass. I like it when the bass note essentially carries on from a kick hit. Again, I may need to cut mud or find a bit of upper-mid to boost, being sure not to lose the LF impact of the kick or bass. Your mix is lacking in lows.
Next I'd bring in the rest of the kit, using the kick/snare/vocal/bass as my reference point.
Now I'd bring in guitars, filling in all that space, but never losing the kick/snare/vocal trio. It's a fine balance. On the one hand you don't want to lose the vocal, but on the other hand if the vocal is having to work to stay in the mix it makes it sound loud, and you want this to sound like it's loud. So I'd make the guitars sort of challenge the vocal in terms of level. To be honest You were really close to that already.
Then I'd bring in any other vocals using the lead as a reference point.
Now I'd listen for frequency buildups and figure out where I can cut to bring them in line. I often find a low-mid buildup with groups of backing vocals or layered guitars. I'd listen for anything sticking out or getting lost. Eq, level and dynamics may need more tweaking. I'd mute then unmute each track one at a time to see what it's bringing to the mix, good or bad, and walk around the room, listen through a doorway from another room, on headphones etc.