I listened to some tracks on your SoundCloud with an X-Y Plot & Phase Analysis onscreen... have you considered running a parallel-reverb channel and doing a separate MB-EQ / MB-Comp / MB-Limit treatment on it? I'd even go as far as to audition a third reverb channel, with a mid/side split EQ ... and/or a widener plugin, w/ a channel delayed a few ms (for a little psycho-acoustic separation, not flange). In short, if the suggestion to EQ & Compress (from JamesSweeneyy) is new, separate the reverb and go crazy.
In general, in using reverb... having the same type of reverb on a group of elements is going to place them an identical environment, so with multiple groups, have an organization in mind of what voices are placed where in which environment (and the track's overall environment). It sounds like you're doing that to some degree. Maybe go further with organizing and isolating the stereo position of the reverb for groups of instruments. On the opposite end of that idea, with a general reverb engine, the wet sound is going to inherit most of the stereo position of the dry sound... so working to isolate and place instruments in the stereo field may allow the reverb of each instrument (or group) to be more apparent.
Also, I noticed a lot of multi-tap delays on arpeggiators frolicking around in the stereo field, where the 16th note run is in one spot, then the delay taps are R-L or L-R... have you experimented with placing each note of the arpeggiator in the stereo field?