Industry standards? No. Not really except proper gain staging, and even that goes out the window sometimes.
 
Genre standards? Yes. They exist. I don't listen to, or create any of the genres you've listed, except the fringes of rock and electronics like black metal and industrial. I'd find out if there's a genre based mixing book or tutorial you can check out. 
 
This would do well to get you up to speed:
 
http://www.groove3.com/str/mixing-rock.html
 

Hi. The thing that helped me get (in my eyes / ears), was recording at lower volumes. Not so much the recording it self (sounded ok by itself), but when I started processing them (I wanted everything to sound as good as it could on its own), they overloaded most plugins. That (for me) resulted in a quite thin sound.
As others said, you could upload a song for review. Lots of brilliant people here, that will give you great feedback.
 
Or for basic recording techniques, head over to http://therecordingrevolution.com/
Best of luck.
 
 
 

All good advice here. One of the big eye openers for me in this department is making sure the initial sounds chosen are right for the song and mesh well together with the other instruments in the first place.

No ammount of eq or compression will force a square peg in a round hole. If a sound is good in isolation but not in the mix, then its not the right sound for the song.

Deon_C
All good advice here. One of the big eye openers for me in this department is making sure the initial sounds chosen are right for the song and mesh well together with the other instruments in the first place.

No ammount of eq or compression will force a square peg in a round hole. If a sound is good in isolation but not in the mix, then its not the right sound for the song.

This is good advice

To go along with Deon, I think it is important to have a mix that sounds good before you use any compression.  That will not save a mix and should only be a slight enhancement.
 
Back to the topic of arrangement, I don't know if I started saying this back in my studio session days, or if I picked it up from someone, but either way, it is true that if the rhythm section doesn't feel good, the record can't be saved.
 
Based on the genres you list, you may not have a lot of instruments besides the rhythm section' but it is true that a good feel with bass, guitar, and drums (and any basic keyboard backing part) is crucial. I use acoustic guitar on 90% of my songs, and I spend a long time just listening to guitar bass and drums.
I know this is getting a little bit off the original question, but just thought it might help.  Maybe someone reading this thread is focusing attention on the wrong things.
 
I start mixing with the kick and bass guitar, then add in the other drums and the rhythm guitar.  And I may mute any one of those three at times to see how it feels.  From there I add vocals for a rough level.  Then I take vocals out for a while while I build up the rest of the track.
 
Probably not the only or even best way to do it, but that's my drill.
 
Regarding gain-stagin (and this will get us way off topic), I try to keep each stage in range for mix flexibility, but in the digital realm, I'm not sure how much that alters sound once you're in the box.

Rank hobbyist amateur here, but I have learned some things that have reduced overall suckage considerably in my mixes.
 
- Listen to the tracks a few times after tracking. Note what's too loud or too quiet.
- Get all the levels right, or at least relatively even across the mix.
 
Then apply the tips on panning and centering rhythm, drums and vocals from other posts above.
 
Without eq, compression or anything else, it should sound pretty okay at this point. Pure effin magic.
 
The other thing is to use reference tracks that capture the vibe your after. If you have Izotope Ozone, it can analyze and apply eq settings to your mix based on a reference track's eq. You can learn a great deal from that.

i find that mixing is highly personel....
 
and you are either good at it, or you aren't.
 
 
learn as many techniques as possible...
and focus on training your ear to understand what it is, that you are actually hearing.
 
 

A lot of engineers or producers bring in someone else to mix.  Most of us don't have that luxury.

Listen to lots of commercial recordings through your DAW monitoring setup. Especially recordings that have the kind of sound and feel you're after. That way you find out what your own mixes should sound like through the same setup. It can even be worth loading a commercial track into Sonar along with your project and routing it direct to an output bus (so it bypasses the master bus completely) to give you something to compare your mix to.

Be aware of the strengths and weaknesses of your monitoring system. The smaller Reveals for example tend to be good at mid-range frequencies but roll off very quickly below 200Hz and lack treble. In that kind of situation a reasonable (don't have to cost a fortune) pair of headphones can be very useful as a tool to find out what's going on in the deeper end of the bass. Just don't mix entirely by headphones, they are very deceptive in many ways.

Never mix for too long without a break, ears get tired.

Watch videos and read articles, books, and above all else manuals for the things you are using. Make notes of anything useful and refer to them often. Learn about the technology you are using, what it does, how the controls work and why you might want to use it at all.

It's a slow process with a steep learning curve which we are all on, even those among us who've made a living from engineering and producing for years. So set yourself attainable goals. Don't aim for the "perfect mix" immediately, instead aim for "a mix that sounds good on my monitors". When you can hit that target aim for "a mix that sounds good on my monitors and also good through my hi-fi, even if its not quite the same", and so on.

Finally, try to avoid presets, especially on eq and compression. Someone else's eq preset might sound good on their bass in their song, but you are dealing with your bass in your song which might (probably will) need different treatment. Compressor presets are even worse because how a compressor reacts depends on the volume and frequency range of the audio going in, the frequency range and the transients it contains.

Lots of good advice here. I'll add something flippant but true in many ways: All that matters is the vocals  
 
Get those right, then have everything else in the mix support them...until an instrumental solo happens, then everything should support that.
 
A few more thoughts:

• The most important mixer button is the mute button. The fewer the number of tracks, the greater their importance.
• Mastering can do amazing things.
• Tracks fit together like jigsaw puzzle pieces. If one track rules a frequency range, the other tracks can't.
• Compression is overrated, limiting is underrated.
• There are four different curves in the QuadCurve EQ. Choosing the right one can make the difference between a track that sounds great and one that doesn't.
• Too little reverb is better than too much reverb.
• Bass likes a reasonable amount of high frequency boost so it doesn't get obscured by the kick.