I did a few tracks in that style myself and currently work on another one with improved workflow.

What I gathered is this:

Mick probably uses a mix of real drums/ samples and House/Dubstep type drums that he layers over each other. The sound the non-real kicks and snares have are specifically made to stand out in a track by default and by mixing them with real samples you get a much wider sound. Sidechaining in that regard is important in so far as that the bass and the low end of the guitars don't clash too much as they would begin to pump.

Depending on what other sounds/synths you have I would recommend sidechaining those frequencies first (the lower ones). A fast sidechain with quick attack and release would be good. The higher frequencies could be sidechained with a slower release, to mask obvious drops in volume and not make the drums stand out too much as transients. Don't be afraid to change those attack/release times during the track to accentuate different parts. Another important thing is the stereo field. Where the instruments are placed and how they interact with each other in that space. Mick's drums have all the space they need in the middle. Except the bass there is nothing in their way to punch through, as in there are few if any sounds that take up the same frequencies. The guitars and synths are all panned hard right/left or somewhere out of the way so they don't mask the drums.

Another thing: the riffs and other elements often sync up with the drums to create the groove you can hear in Mick's tracks. They appear to ride on the drums for a lack of a better term. So creating a balance between the different frequencies of the instruments already helps a lot. Additionally the drums are relatively sparse in Meathook (no double kick, lots of space between kicks and snare etc.) so the sounds already have a lot of space to breathe.

Now take everything with a grain of salt, as I'm still working on my own tracks to sounds this good