Well, this is not without improvement. The way the top voice is more gently phrased, and is sounding less military than before, in the first 8 bars, is good. You're on the right path, now you just need to go even further along it. Also, where the same material comes again starting at bar 13, you are less gentle here than at the beginning.
The middle voice should benefit as much, if not more so, from whatever efforts you go to to make the upper voice gentler and to phrase the dynamics. At present these continuous 16th notes do tend to overwhelm the upper voice a bit, they're a bit stompy and samey, DA DA DA DA instead of Da da da da, and this aspect seems more pronounced now that you've chosen (I don't know why) to play the piece more slowly again. Although these middle voice notes are the fastest feature of the piece, they are certainly not the most important, they're background murmur to the melodic line, and need to be kept more quiet than the melody.
Alas, the old timing problems of bars 10/20 and 12/22 are still with us. Do you listen to your recordings critically before approving them for posting? If so, and if you can't hear these timing errors, then your inner ("heart") metronome is just broken and needs to be repaired, or trained with the aid of a real metronome. You've said you'd hate it, I know, but I fear it's getting to the stage at which such action is becoming unavoidable. Just maybe, there is another thing you can try first:
In bar 10 your second chord is about 25% too short. Perhaps what you could try in that bar is to change what the left hand does. Play eight 16th notes: Eb A Eb A Eb G Eb G. That should force you to hold the second right hand chord on for the right amount of time. Once you've done that a few times, allow the LH to play what's written again, while imagining
you were playing those 16ths. Record it. Listen to the recording, and while doing so imagine the LH playing those 16ths, and see whether your recording arrives at bar 11 in time with your imagined 16ths.
In bar 12 the F# A is too short so the G Bb comes too soon, by about the duration of a 16th note. Perhaps it would help to play the F# A not as dotted 4ths but as six 16ths F# A F# A F# A, to train yourself, in the same way as in bar 10, to keep the 16th rhythm going in your head.
Make time for the grace notes if you must, but not by pushing the G Bb chord out of the way, but rather by lengthening the bar. If you listen to Gilels's bar 12 while imagining continuous 16ths being played, you should find that his G Bb arrives right on time, but that he has edited in a fermata onto them, stretching the bar by about the duration of an 8th note in order to let the grace notes in such that they don't sound rushed.