I‘d like to hear your thoughts on this one.
I‘ve used mid side routinely in front of of drum kits and often ran into phase issues with the close mics on bass drum. After getting an AEA R88 I didn’t really use anything else but this in Blumlein in front of of drums. Then I recently tried two M160/130 in MS and thought it worked really well. I most always use a spaced overhead pair as well.
I know: whatever works is fine, but have you any general opinion when it comes to Blumlein vs MS for drums?

I like blumlein stereo pairs a lot as (imo) it sort of gives you stereo-for-people-who-don't-like-stereo image. I think hard panned drums sound awful and distracting, so an otherwise-mono kit with a blumlein pair in front (imo) gives a focused non-distracting sound with a bit more width than straight mono. It's nice to turn the stereo pair on in the chorus sometimes and have the rest of the song be mono drums.

I usually put them about 3-5' in front of the kit about 3' off the ground.

My guess is that your phase issues will be similar with either mic technique assuming you're putting either setup in the same place.

Is this being combined with traditional overheads?

If so the prevailing wisdom would be to have all non close mics (room mics excluded) equidistant from the snare. While that can help keep phase coherence on the snare it's still not really a guarantee on the kick (but often helps imho).

It may be worth high passing the front of kit mics to the point where all of the fundamental from the kick is from the close mics and the front of kit is really there for spatial purposes- you don't really need it telling you much below 100hz or maybe even 300- 400hz (scoot the eq around and find out). I wouldn't look at this as losing low end so much as optimizing where you get it from. Also of note with a multi mic setup it's never a bad idea to flip polarity on individual channels to see what is added or subtracted.

MS to my ears is the most natural sounding Stereo pair, followed by ORTF. I've only ever done Blumlein with pretty cheap Ribbons to it was about color and experimentation more than being a go to for me. It does sound good though. I have a VP88 that is fun to move around and lets you do midside without a ton of rigging. All the stands and adapters are the other reason I rarely do Blumlein. all my bi directional mics are pretty big, like my Golden Age R1 ribbons, and getting them placed is cumbersome.

I also like playing with the mic combos with MS. M88 for the Mid and ribbon for the side, LDC for the side... play around. They don't have to be matched.

As far as phase issues, they either need to be placed equal distant from say the kick as the Overheads are.. .of far enough away that they are an ambient source and not a direct source. If you are recording in a daw, don't feel bad about sliding your files around until they are time aligned. It can make stuff sound better. I time align my OH to my snare hits pretty much always. They are too close for being "Room" sound so I don't need them to be distant. I use distant mics for distant sound and close mics should be in time.

I like M/S with more emphasis on mid at this point. A more aggressive stereo panning can sound cool for isolated snare hits and whatnot, but the side to side cymbal stuff can get messy even if it doesn’t seem like they are physically moving around much.