Hey Deevz! I think you’ve done a very good job of the mix on headphones. I’ve certainly heard much, much, much worse mixes done on high quality monitors… and by saying that I am by no means implying your mix sounds bad, quite the opposite in fact!
Here’s a little secret I’ve learned in my time posting, critiquing and being critiqued on the internet: “No one needs to know how the sausage was made” Music is all about listening, so I like to give listeners the best chance to do that… “Listen Without Prejudice” as they say.
All that said, here is what I’m hearing in the mix:
The overall frequency spread across the spectrum is very pleasing. Not too much low end or low mids, and the high and high mids sound very nice too. Low end is particularly difficult to judge on cans, and I think you’ve done a good job here. My subwoofer is behaving itself and everything sounds clear.
The vocals are “sitting on top of” the mix, rather than integrating into it. This is often an issue of what I like to call “proportion”. It’s a combination of frequency “height” and “depth” along with dynamics. When a sound is very full range, with a lot of highs and lows, as well as a fairly substantial dynamic range, we perceive it to be “large”.
For example, when you hear an old Frank Sinatra recording, his vocals sound HUGE - lots of low end, lots of dynamic range. Whereas the orchestra/band often sounds “small” & “polite” by comparison - just an accompaniment to the “main show”, the vocal.
In rock music, the band needs to be powerful and “big”, so the vocal needs to be more proportionate - another “element” in the band mix. Removing low end from the vocal will help the low end of the guitars, bass, kick and snare sound “bigger” by comparison.
Reducing the dynamic range of the vocal via compression and/or automation will enable the vocal to “step back” into the melange of the band sound, yet still speak consistently to be heard over the (by nature) very compressed sound of distorted guitar amps.
The snare sound has an unusual amount of (what sounds like) under-snare “buzz”, along with some boxiness in the 400hz range. While the extended under-snare sound lends some sustain to the drum, it cuts off rather abruptly and unnaturally, so possibly some more work with the release times of your gates might have been in order there. The prominence of the “buzz” also tends to overshadow any shell sound of the drum, which suggests that the drum is being played rather softly, since harder hit drums tend to excite the shell tone. Getting that shell tone to speak loudly gives the impression that the drum is being hit hard, which is really appropriate for a rock song like this, particularly in the choruses.
The guitars are a little “polite” in the mix. This may well be symptomatic of the way things are heard on headphones, as the sounds out wide tend to be overemphasised on cans, so it would stand to reason that we might turn the guitars down in response to that. But that again, tends to make them subjectively “smaller” in context with the vocals and drums. As @VirtechStudios says above, referencing can really help out in these situations. For example, check out the powerful guitars in this Eric Valentine mix of Slash/Ian Astbury:
Overall though, I think you’ve done a pretty good job here. It’s a fallacy that people can’t mix on headphones. Listening to episodes of the “Working Class Audio” podcast where they often interview top ranking pro mixers, more and more are having to work on cans, and they manage to do an awesome job of it - so it can be done. Nice work - keep it up!