I'm gonna have to make a tutorial on this sometime soon, but a few things to consider:
When you're blending to make a strong kick or snare, the stacking causes the volume to boost. You need to reduce the track volume as you go or it will distort. The combination of lows from dif kicks cause even more volume boost from how the lows interact.
When you hit the compressor- it performs best with the nominal level, so you need to control volume before entering the compressor to get the right response from it.
Next, the awesome sound of drums is a perception-thing, meaning that it sounds one way to us on its own, but dif in context to the mix. Awesome drum sounds are partly an illusion with how they are stacked and blended into the rest of the song. Often what sounds like a killer drum track turns to mush when cranked loud, and drums are meant to sound awesome loud! So, the type of compression deals with this as well. There are 3 main elements; frequency, the overall sound, and transients (there's more, but that's what you are after). Controlling frequencies is key to getting loud and powerful- both together. Part of the sad truth is that we have to trick our perception on this- we trade some of the really awesome sub-lows for perceived loudness more in the 90-150Hz range to get more volume. This loses some of the hit-your-chest impact, but becomes what sounds bigger and louder to us in the context of the song.
Overall sound- upper mids tend to communicate volume better than low mids, and super high frequencies can help with the polished and sweetened sound of drums, but does not communicate a lot about volume or "wham" or "bam" of the attack unless...
#3- the transients. This is the trickiest part to understand, but it is in relation to the lows, the overall sound, and the use of compression. The transient response is the super fast initial attack and what frequencies are making that happen. You can use a transient plugin to increase just the initial transient and give drums massive attack- but they take a lot of peak volume out of the context of the drums. Using compression to give a balance between the bang boom bap whack of the drum and the sustain that helps define its environment and sustain is where you make a signature on the sound. You can get a goo response from a bus compressor with slow attack and fast release, 2:1 or 4:1 ratio and threshold that barely moves the needle. This tends to lock the attack in place and make them sound big with the mix without fluffing it up and making it sound mushy once turned up. For me the successful drum sounds more and more like a real hard attack the louder it is- the peaks need to survive the final mix.
Hope that helps a little.