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Just following up here, Colin. I went ahead and downloaded your mix and Lews' 2 Hits of Acid and did a more thorough comparison between the two. Both tracks weigh in as mp3's at 320kbps and both have a track selection similar in content as well as elemental spectrum. Both appear to have been consistently brick-wall limited to 0.00 dBFS, as well. I also picked Lews' because, while it contains timing issues related to encoding at the player level (I heard them and was wondering what had happened), it's also been recommended for listening and no other comments about the mix quality could be found. Essentially speaking, it's expedient, neutral ground with enough similarity in spectral content and mastering practices that it sufficed as a good B to your A for comparative purposes. Don't take this the wrong way, simply because I have mixing (albeit on a different level) issues myself to contend with. I'm definitely not trying to be a douchebag, nor am I even on a mission to find "fault" with you.
What I've done is loaded both tracks into my DAW, SONAR, to run a side-by-side comparison. Although there are deviations throughout each file's timeline, in terms of how both mixes were indicated in my spectrum analyzer (Blue Cat Frequency Analyst - Stereo), the consistencies in both mixes outweighed the anomalies. Overall, I noticed a significant lack of bass and significant high-end in your mix, when compared to Lews', whose low-end was more prominent while his high-end was significantly rolled off. Lews' mid-range also typically had as much volume as your high-end.
While your bass was still louder than your highest treble, your low-end looked to have been rolled off significantly below 100 Hz, where your bass peaks out at, while Lews' highest bass-peak could be measured around 50 Hz before being quite a bit more gently shelved. Succinctly, it could be said that your spectrum analysis could best be described as closest to flat as possible, while Lews' is considerably more dynamic.
At 32:18, a point in which both mixes were most similar could be discerned, in terms of arrangement and instrumentation, and I went ahead and took screen captures of the spectrum analysis. It's important to note that while there are some deviations, both spectrum analyses are more reflective of consistencies throughout the entire time-line of both mixes. Even if I'd taken samples from later or earlier in either mix, you'd still see essentially similar frequency responses for each mix.
Two Hits of Acid & a 303
Music Has No Boundaries
The light blue line above the darker blue one with the opaque fill is the maximum level any frequency was ever able to attain for a period of approximately one minute past 32:18. The darker blue line is what was occurring at the instant I took the screen caps, with an interest on capturing the loudest peaks possible in their relation to the top line. For my purposes in illustrating how your mix has been getting the remarks about its shrillness, however, the top line is most important, as it is reflective of the consistent signal strength throughout each mix.
What is notable is that your frequencies, from approximately 3,000 Hz through 22,000 are significantly higher than Lews' while your bass is significantly lower where yours peaks in relation to Lews' bass at the same frequency. Your mid-range is also somewhat depleted in comparison but the variation, there, is nominal compared to either end of the spectrum.
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Now with extra singles!
my old stuff, not quite up to snuff - but I still dig it - UPDATED 9/23/2012
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