Yeah, I know what you mean, that's the classic trap we all fall into when we spend too much time on a song
Now using elements slightly out of tune in a mix can sometime lead to interesting & great results, in this case since it's the bass which is a fundamental element, I think it's just too obvious, so that didn't work for me. The technique can be creative, but something to use carefully IMO.
About reverb, well... This could be a topic on its own I believe and there are so many good plugins on the market these days ! In the end, the way we feel about how a reverb plugin sounds has a lot to do with our own taste I think. Valhalla plugins are really good ones IMO, that said they definitely belong to the digital reverb category and therefore are much appreciated by electronic music producers. If you're after something sounding more "natural", Exponential Audio could be something to take a look at. The company is now part of iZotope but the engineer behind Exponential Audio DSPs is no one else than Michael Carnes, a former principal engineer for Lexicon during many years before developing his own brand. So the guy knows 1 thing or 2 about reverb, right
Now Exponential Audio reverb(s) are not very user friendly & nice looking TBH, the GUI(s) look very vintage computer like and it takes quite a learning curve to get around all features & settings that are available, but yes, reverb(s) like R2, R4 or PhoenixVerb sound really great IMO. I'm not sure if you can demo them, they aren't cheap either.
But again there are so many options available and it will often come back to individual taste and usage scenario as well.
Next to that and back to Valhalla DSP having a "metal" sound to your ears, there's also the way we set the reverb to take into account. Next to tweaking the settings, it all start with what you are sending to the reverb. So depending of the scenario you might want to stick a high pass or low pass filter before the reverb and EQ your source sound to tame certain peaks. Then placing another EQ after the reverb can also help to sculpt the sound. The classic side-chain reverb trick is also a good method to get some control on the reverb and to give some "life" to it. In this case you need to use the reverb on a return channel and stick a compressor after the reverb and side-chain the compressor to the source sound you send to the reverb. The compressor will duck the reverb each time your audio source come through and then release it again to full depending of your side-chain amount & compression settings. Interesting technique as well, but still, it's important to control what's going through the reverb in terms of frequencies and peaks.
Hope this helps