Obviously what anyone does with the mix is their personal preference.
I approached this song from the angle of making it sound like it wouldn't be out of place on a modern commercially-released album.
In other words, to make it sound similar to a good-sounding major release.
Lots of compression is essential to this sound. And of course not just "lots," but lots of well-dialed-in and suiting compression.
If you'd rather approach it from the angle of shooting for an indie artistic release, then feel free. This was my angle on it. I tend to think that this particular genre actually does benefit from lots of processing. I know this type of thinking goes against the grain of this forum, and heavy processing is almost entirely frowned upon here AS A RULE (I think this hurts just as much as my generalizations) but I also know a) what sells and b) what sounds good to me. In this particular case, they were the same approach.
I am not really a fan of most of these mixes. They're interesting and people are obviously learning well in the process. But, most of them are very sparse, small, light, and narrow IMHO. This is because people are relying very closely on the sound of the original tracks to carry the song. Your tracking was methodical and clean, so I applaud that, but in many cases quite lacking in tone. This isn't really a bad thing for this project, because it makes the PMC more of an interesting challenge than if all the tone was right there to begin with. If this was my tracking project and I was shooting for a non-demo release of any sort, I would either seriously consider retracking some of the stuff or force myself to accept really heavy processing.
This isn't meant as an offense in any way. I'm sure you are a great engineer. Just that it seems like some of these tracks were setup in too much of a hurry, without any time spent on critical listening to the tone.