First, where are y'all located and when/where are you playing in the San Francisco Bay Area?   Depending on my schedule I might come...

Second, production notes (speaking from experience on the other side of the glass), having listened a few times through plus numerous rewinds to various parts.  If this is useful, good, if it's not, sorry for wasting your time with it...

The more I listen to this the more I get a sense of what you're doing with it; it reminds me of another band I knew years ago, hopefully the times are more receptive to this now than in those days.  Thoughtful and with subtle intensity rather than in-your-face.  

Lead guitars could do for a bit more edge, more high-end presence throughout the entire piece.  You have a nice soulful tone there, at times haunting, at times meditative, it's basically OK but could do for a little more punch in places.  

Also a bit more edge in the snare drum in the more sparse parts of the intro.  I would suggest setting up two drum mixes, one reserved for times when drum parts are highlighted.    

Bass tone works fine as it stands.  I have a few ideas for production techniques that could work in places but not critical.  You've got a good tone there, with some edge but not overdone, and with nice depth.

Your lead vocalist has a very nice tone, even harmonics (frequency distribution of the voice), no nasty odd harmonics, good enunciation, good control.  That's about a 1-in-100 voice there just based on the harmonics and intonation.  Second verse is a good example in particular.  

Darn, I like what you're doing with the guitars there, it seems there could be a bit more of it, i.e. what I've been saying about edge and high end.  

The lyric section, "forgetting everything..." works as a break part, in which case it might want a backing vocal off in the distance.  If I were doing it, I'd be looking for a male backing vocal in a lower pitch range than the lead, and a slightly different vocal melody for the backing track.   The small guitar part on the right track just could come up in volume just slightly, or again same comment about a bit more high end.  

The last verse, "the waves are rolling in.." if I were producing it, I'd add two backing vocals in the distance: one the same as for the break (male, lower pitch range), the other a female vocalist in a higher range; these would be purely accent parts, fractional harmony on a few words here and there.  

The transition between the last verse and the instrumental parts after that seemed a bit abrupt; if that's what you're going for, then changing the texture of the backing tracks might help accent it.  Or if you're going for more continuity than that, there's a space in the frequency spectrum just a bit lower than the vocal part that could be occupied with something as a brief transition to the instrumental part after the last verse.  There are some nice background subtleties in the instrumental parts as the song ends, hmm...

Back to guitars again: it occurs to me that what I'm thinking of here re. presence & punch could be achieved with microphone selection.

Don't worry about not using conventional song structure here, you can get away without it; catchy lines can help make a song contagious but also not essential.  You've got a very nice soulful and meditative thing going there; I don't know what the current audience demographics are but it stands on the artistic merits and people will find you.  

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Checking out your website:  Yeah I definitely like what youse guys are doing there.  You've certainly got the creative chops together and intereting songs as far as I've heard, and your lead vocalist definitely has the 1-in-100 voice which is important.  And your live stuff hangs together really well too, including vocals; all of which is rare for bands that have a more complex sound in their studio productions.  

OK, so when are you playing around Oakland or San Francisco?  And do you have a regular mailing list for upcoming shows?  (should I just write to the contact address and say "add to mailing list"?)