Hello again, jaminjimlp...
Having listened intently to "Let It Rain" and compared it with Never Forsaken's other three tracks on that SoundCloud site, I was struck by
- The overall "looseness" evident in the low frequency region of that track and
- How "harsh" the upper mids and tops seemed in the other three.
(Please do not take these observations as exactly that, just observations, NOT as any sort of carping criticism or "Monday Morning Quarterback's" attempt at "one-upmanship".)
I'm simply offering something that you might consider in the spirit of "spreading the word", ...that "something" being the thought that a possible "cure" for such inconsistency may lie in your paying a bit more attention to the consistency of your monitoring arrangements.
While we'd all love to have the budget and space for a fully isolated and "sound-trap treated" mixing room with its ballasted wall full of "state of the art" tri-amplified monitors, in our "real world", most of us will only ever be able to enjoy full spectrum accuracy via headphones ...and that's the possible solution I'm suggesting here.
As it happens, I DO regularly enjoy the privilege of working in some of those acoustically brilliant control rooms, (both mobile and "bricks and mortar) each equipped with top quality monitoring from the likes of ATC, Dynaudio, Focal, Genelec, JBL and Neumann ...and I am very happy to report that tracks taken between them have shown me that all such top quality monitors largely "agree" with each other, the main differences seemingly being (aside from the very slight personal preferences some individuals may have) both slight and largely confined to details like dimensions of the "sweet spot" and/or the duration before the onset of "listening fatigue".
More importantly for this discussion, years of conducting such comparisons while working "on the road" have allowed me to settle on a (relatively) modestly-priced precision monitoring headset that not only "agrees" with all of those hugely expensive control facilities, but also has sufficient isolation to allow accurate evaluation and analysis in really LOUD locations, with the unique benefit of a "hinged" earcup for the "one ear off" operation required when "soloing" while still listening to "the room".
The set is also relatively compact and supremely rugged, with replacement parts not only being readily available, but also surprisingly cheap when compared to many other makers ...and so the Sennheiser HD25-1 II has become my indispensable "mix anywhere" companion:
Given the amount we've already invested, (both financially and emotionally) I also reckon that a couple of hundred "extra" bucks spent to obtain certainty as to what's actually "in" our tracks is well worth it, whenever finances allow.
(I hope this helps you in your great work.)