Drum Kit Focus while blending with panned guitars

Double tracked guitars for sure. That's the only way to get them super wide like that. I almost wonder how real any of the drums are. The kit could totally be sampled/triggered. The cymbals have very precise placement. There doesn't seem to be much (if any) snare in the hats. If there isn't a bunch of replacement happening, it's VERY precision micing in my opinion.

The drums are wider panned than you think you hear.  I've run into that a few times trying to mix stuff folks have tracked in "mono".  The extra wide, and full, guitars make them seem more narrow in comparison.  

As for the guitars, it could be two amps, with both Haas widening (increased delay between them make them seem further apart) and a little slow chorus to give them some difference in phase, but it's 99% that it's just double/quad tracked guitars.

This has a lot of HP/LP and gating/expansion going on.  Start ruthlessly cutting anything that doesn't need to exist in the frequency spectrum.  The clearest example in the song is the guitars, there is nothing going on above 2K-3K on them at all.  That's a good call, because it allows the grit in the vocals to stand out without needing to boost or enhance anything.

They certainly focused on a few regions.  The guitars are cut low so that the vocals have room above them.  The kick fundamental is lower than the bass guitar.  The bass has a round low-mid bump without much for grit or harmonics that take away from the guitars or vocals.  They let the guitar take up most of the mids and low-mids.  The cymbals take up most of the high mids above the vocals.  They let the vocal effects drift around the upper mids through the highs to give it more of an airy ambiance.

I think the takeaway is that the pre-production probably spent a lot of time getting everything tuned and set up to be recorded this way and the mix just exaggerated the separation that the production setup created.

I'd look more towards the snare itself.  Look at the one he's playing in the video..  It's 8" deep..  That's where the bulk of the fatness comes from.  Heavy sticks and proper head choice finish out the general tone of the snare.  It sounds like he's playing a metal snare, probably brass due to the warmth of the ring.

I use a 7" black beauty/black magic and get a similar sound.  Check this out:  www.theopiumdenproductions.com/WGD2016/rest.mp3

For the snare, I tune it higher on the bottom than top (around 400hz lug tuning), tune the top to mid-high (around 260hz lug tuning) and have the strainers between being jangly loose and buzzy (when you find that spot you'll know).  The strainers need to be looser than you think so that the heads aren't dampened by the strainers.  Now, the top head is usually an emperor CS dot coated.  The center dot gives a bit more fatness to the snare attack, but doesn't choke the sound like a sound control ring does.  I also usually use a half moongel right on the Remo logo.

For the mics, I use an I5 about 2 inches from the head itself, and about 1/2" back from the rim.  The angle from parallel to the head is around 30 degrees.  I always use an API type preamp for fatness too.

Bottom mic right now is a beta 57.  It's much further away from the bottom head, maybe 6", and pointed about 45 degrees to somewhere between the strainers and the rim.  You don't want it pointed *at* the strainers or you'll get strange brashness.

Compression is 1176 on top using the Dr. Pepper settings.  I also use expansion so that the bleed of the kit is minimized between hits yet the closing of the expander is smoother than a gate.

The meat of the drums comes from the close mics.  The glue of the kit comes from the OH or rooms.  You want the meat, so focus on getting more close mic perfection. 

The guitars are using haas effect and I think its possible the drums are using sample and real and possibly using haas effect too. Its a cool mix.