The bass could benefit from less low-end on the kick.
The snare sound feels like it's not in the same room as the rest of the mix and it as much more high-end than the rest of the tracks.
I suggest taking off any compression or eq on the master bus since it's not helping the mix.
I would'nt touch the guitars, I'd actually mix the rest of the tracks around the guitars, so that the bass could create that sweet low-end under them,
the kick could give life and punch to the overall bass content,
the cymbals could enveloppe and create a nice airy ambiance over and around the guitars,
the snare could really cut those beats where it has to cut them, hitting hard in the center of the mix (horizontally and vertically),
Those toms... well they truely sound robotic when they occur so I suggest randomizing them a bit.
Think of your mix as a painting you draw with sound. Too much colors in a same spot will easily cloud up and become a black or brown stain.
I your bass takes the lower portion of your mix and the kick adds it's punch, you should be able to replicate the same in the mid portion with your guitars and snare. The high-end needs to feel fresh and clean so I suggest you don't compress anything that find it's place over the guitars.
When your subdrop hits, I suggest you automate an high-pass filter on the rest of the mix so that it hits without adding up to the bass content wich is allready pretty present.