Hi Vic

As jazzmandan says you need to be specific with the chords over the course of the static harmony.

This involves using chords like D4 throughout the scale on D dorian (which is actually an inversion of Gsus voiced as D, G, C.)
Sequenced throughout the scale you get D4 E4 G4 A4 B4. The C major degree can support a CSus voicing. The F Lydian would have to be B4/F to keep it in a quartal zone.

Thats just for starters. To get something which resembles actual practice you'd have to side slip occasionally within the D dorian framework keeping it anchored to a D pedal point preferably. Here you will have to experiment with short detours to distant key centres coming back to D dorian.

Techniques to try are:
A repeating root progression of minor 3rds or some other interval cycle leading back to D dorian.
Superimposing another distantly related mode on D and using 4 and sus chords

The other thing I'd recommend is trying to use some holds and shots which define a riff or a feeling of three against 4.
Here's how this is done: in a 4/4 style set some bars to 3/4 then input chords in this fashion: (for example) |Csus...bd ^Dsus...bd| Ebsus...bd ^Esus...bd|Fsus...bd ^F#sus...bd| etc etc
This is a good way to build tension.

Later you can get on to using compound voicings, overlays and crunch voicings using BIABs extensive chord list and a novel use of its melody harmony feature. This will give you a later period McCoy sound. I can take you through this stuff if you want but its not for everybody!!

HTH

Alan