Re: you've seen this song before, but i added vocals
Re: the programming, I'd turn the hats down. They're pretty overbearing compared to the rest of the kit. Overall I don't think I'd compress the drums nearly that much; it sort of flattens them and they wind up sounding very much like a background element, especially with all the 'verb on them and the guitars way out front.
The bombastic drums are an interesting contrast- not what I'd normally expect in the style at all, especially all the double kicks. The vocals have the floaty 'verb'd-out thing going on and the guitars and bass are appropriately fuzzy.
Conceptually I think the drums work, and I hear where I think you're trying to go with them, but I'd take off the 'verb and the compression and maybe give the velocities a second look? Especially the part at the end with the snare rolls and the ride. Subtle things make a big difference, especially if you're going for a drum sound that's more natural than modern metal.
A little trick with hats and ride, if they're keeping patterns of four is to go LOUD Soft Loud soft with the velocities, and change it up a bit from there so it doesn't sound looped either. Yeah, it takes some time, but you can copy/paste good chunks at random and it doesn't sound like it's repeating. A similar thing applies to kick patterns, fills on the snare and toms, etc. Vary the velocities for softer and louder hits within a pattern. Try to think like a drummer here and how you'd emphasize the groove. I'd expect the quarter notes are gonna be harder hits, but anything in between can be lighter- sometimes significantly- and it gives things a totally different feel. But I digress.
Also, parallel compression is your friend on drums for getting more body/ring/shell while still letting the initial attack cut through. Send your drums out on a... Well, send, slap a big ugly compressor on it and bring the squashed drum bus up under the un-squarsh'd drums. This avoids the obvious compressor/limiter squash sound. And if you're using Toontrack stuff, you kinda already have that built in on max velocity (or close to it) hits anyhow.
But I digress
again.
Were it me, I'd tamper with the drums a bit to get them sounding less off in the distance, especially with the guitars being much drier, and pull the levels on everything else
down vs. bringing the drums up, then turn up the level on the master. Headroom is your friend for clarity and punch.
What did you use for the guitars?