You had me at Green Hill shoegaze.  There's definitely more than one way to skin the iconic cat that is Green Hill.
 

Now, here's the thing - with experimentation within the shoegaze genre as it is, it seemed like a lot of thought went into textures, but at a price.  There's a slow-burning intro that emphasizes the rhythm guitars before the kit's arrival, all predating the source's appearance at 0:39. That's 80 seconds of source use at that point, before going right into a breakdown with a lower-guitar melody over bass and some slide guitar halfway through the build.  And we end up with more wavy rhythm emphasis and some noodling until the source's C section reappears at 3:15 for another 20 seconds, complete with some neat call-and-response action.
 

The price paid for this thought on texture was the source quota.  That's 100 seconds of a 226-second submission, which puts my calculations at 44.2%.  I've seen submissions where the source quota was bent due to longer sustained notes, but I can't see this as one of them.  This is one of those submissions where I'd like to hear some variety of background instrumentation that still references parts of the source material, even if it's backing melodies / rhythm parts from the original adapted to keys, or something.
 

Listening to the track at a balance level, I do indeed co-sign on Brad's analysis of the drums being out of place - and the way I see it, it's too dry and upfront in comparison to everything else.  It feels like it wants to sound more like a pop drum than an alt-pop drum.  If you have a reference track, using it to assist with transforming the kit would be handy.  As for the off-time moments, Brad highlighted, this would require guitar re-records to get in line, though it's more something I'd chalk up to the genre.
 

As it stands, not only do I want to see the kit better mixed in, but I also want to hear more source.  If you're able to return to this project and do these things, that would be fantastic.

NO (resubmit)