Solid work, gentlemen. Might I suggest a few tips though? I wish you’d incorporate more quad-polymetric algorithms and dissonant quarter-step freudian scales. Most proto-post-melodic bands from Sweden understand the importance of this, and have reasoned out the stagnancy of neo-classical contemporary modes through scrutinizing referentialism and heterophonic schizophasia, (because let’s face it, song structure is a 20 year old dog in human diapers). Few bands from the states have followed suit to this turn of events (see Behold The Arctopus), but unfortunately have little to no positive reception from the masses. As for mixing/production, I strongly prefer the direction that your fellow contemporaries in the underground djent scene are “setting sail in”, as the youth says these days. Though an individual who simply follows the common fad might claim it is repetitive, they understand the consistency of a mix with richly reverb-saturated snare triggers, and high-gain high-pass filter trimmed rhythm tones (see also: the Steve Urkel preset). But to wrap this up, I highly recommend studying metatextual chromatic patterns to better understand music theory from the roots. It could really help you better understand monism in a musical context.