For me, the problems start out of the gate. The flute track was supplied mono, and wet with effects including delays and ambiance. Panning it off center makes for a really odd space that is contradictory and unrealistic for the listener. Had the flute been dry, you could have panned it anywhere so long as the spatial context from the binaural Haas signals were supporting.
The rest of the mix follows this general trend which includes problems with balancing the frequencies in the stereo domain which can, and does in this mix, make for a fatiguing experience in headphones. There are also problems with depth for me. Drums are an example, where they feel too close as if they are the main instrument, or a case of instrumental bias? The mix also sounds quite transient-hectic, with so many elements occurring all over the place in scattered pandemonium which in itself, is a cause of fatigue. I think if you re-evaluated the stereo aspects, and got the depth more suited to the arrangement, you'd have a great mix on the way.
You might like to look at the percussive panned right at 14 seconds in, is clipping it's guts out and stinging my ear.
Loved your snare and the ghost notes. Nice and crisp.
Headphones (semi open) and speakers. I don't audition mixes over nearfields because I want to be able to better hear the translation. To me, nearfields are like a big pair of headphones
If I can be of any more assistance, let me know and I'll do my best to help.
