It's a nice production. It's a good recording. I, like you, love it when the drums are punching me in the face. You have provided no information as to your workflow i.e. in the box, out-of-the-box, hybridized, monitoring situation and types, etc.. Your question is one of Dr. it hurts when I do this. When I first push-up a mix, I get my drums and a snappin' & punchin'. Are you working for real drums or drum samples? I don't work from samples. I only work from real drums and with that, I have all sorts of other options that you don't get with samples. There is an entire acoustic signature from an actual set of traps. Samples are, well, just samples that sound great. And that can still work for you but you might have to jump through some hoops? Frequently I invert the phase of the bass drum to start with. Then some compression and noise gating along with equalization before and/or after the dynamics processing. But this is also done not just by soloing just the bass drum. It's done while listening to the entire overall set all at once. Sometimes, small phase anomalies in timing errors can cloud the sound. If I detect that, I start meeting microphones (or the tracks of those microphones) to see if I can't narrow that down and find the culprit. Then sometime just a millisecond or two of delay will shift that comb filter phase anomaly to a less audible part of the sound. But that's a little trickier.
By the sound of your drum mix, you must be a guitarist? Equalization and dynamics processing on the drums will get you where you want to be. You have to turn up your studio monitors louder and start your mixes lower to prevent over driving the summing bus which is an easy mistake to make. When you've hit headroom limit, the sound has nowhere else to go. It has nothing to do with making things sound loud. That's done in the absolute final step of the process called, Mastering. When I was a young engineer, we would start with the Master fader on the console where it was supposed to be. But with all the build up, we would end up over driving the stereo bus. So you just have to rethink your gain staging in order to prevent that from happening while still allowing enough headroom for the mix to breathe. Otherwise it sounds all bunched up like what you have already. So turn the control room speakers up higher than normal. This will force you into beginning your mix at a lower level whether on an analog console or inside a computer. And that's the way it's done.
You're almost there
Mx. Remy Ann David