IMHO the very first guitar riffs can come up out of the mix a bit at 0:24, the drum seems to be louder than the guitar, that's very atypical for this genre, that guitar riff actually needs to be 'soaring' and much, much louder.
Vocal is upfront at 0:25 ... good job. If you bring up the drums anymore, you would be competing with his vocal, I'd drop the drums there, so when the chorus begins, bring them back up ... for contrast and to 're-engage' the listener.
I think you could lower the instrument levels a touch on this first chorus at 0:46 and create more headroom for the vocals.
That means you have to start at the very beginning, and lower the drums first. The drums are eating up all the headroom in the tune.
Drums were designed to cut through battlefields and large groups of hooting and chanting wildly dancing and yelling primates around fires.
Sweet vocals simply cannot compete, with any kind of drums.
At 1:43, I'm loving how upfront the lead vocal is. His voice has tremendous character, yet remains 'good singing'.
We get to HEAR the harmony vocals !!! gee, don't spoil us ;-)
IMHO, good harmony vocals are GOLD, solid GOLD. Covering up good harmony vocals and merely using them as coloring is a big mistake, and you aren't making that mistake.
The lead singer's voice is naturally 'gently shredded', so his sibbilance factor goes up, you've GOT to keep him up out of those harmony vocals, and yes, we've got to hear the harmony vocals also. I would simply use less effects on his voice.
Send all the instruments to one bus maybe, and compress that bus for that section ? Let the harmony vocals and his lead in that chorus exist on the same bus, and mix them as a submix, compare meter levels. You can do this in SONAR and in software.
I urge you to listen to 'Copeland' on mp3.com, some of the mistakes they make with their lead vocal are obvious, and this will reinforce the good things you are doing. Copeland is very similar to what this band is doing.
I think what's happening with the lead-rythm guitar during the first chorus is wonderful.
But later, as the vocals stop, the guitar sound needs to change just a bit, for contrast, keep the listener 'engaged'. Not only get louder at 1:26, but sonically change in quality, maybe a little EQ there, or less reverb.
At 2:00 on this next chorus, I think you are using to much reverb, these boy's vocals are sweet, let them stand more on their own, you don't have to drench them so.
When harmony vocals are that good, you can let out a little touch of character in each voice, by backing off on the compression.
At 2:24 the drummer gets a nice fill there, and that's done well. Later, the punches at 2:40 are too complicated, they just need to be more simple. At 2:51 that fill is awkward and needs to be re-tracked, it spoils the mood of the song that's been setup so far.
The drummer is simply too busy compared to the other instruments.
It's a wonderful song. Beautiful vocals ! Mix the drummer down, just yank that damn fader down on this roadkill and let those GOLDEN harmony vocals jump out bigtime.
Overall, I'm just missing some 'brightness' to the mix, you can restore some of that in mastering. I'm also thinking that yes, it's a bit overcompressed. Let the vocals out from under the compression. Keep the instruments compressed, but let the vocals out, because they are the big hook in the song.
Everything that occurs in the song, is happening for the vocals. There's no blistering lead guitar here, no incredible ... violin

...
The fans will remember the harmony vocals and 'the boys', not the drums. Pull the fader down on this drummer.
Thanks for sharing.