To me this is where part of the problem lies.
The idea that a mode has a mood is one thing.
But you have to stay in that mode for a long time. When modes really became famous was with modal jazz. The point of this music was that up til that point, jazz had been all about changes, so players were so busy figuring out how to play over the complex changes they couldn't really stay with one scale for very long.
So modal jazz was about saying, we are going to keep the same scale available for much longer, or have a set of changes that allow people to use one scale only, and we'll explore what we can do with melody when we don't have to continually dart round corners. So people could then say 'the phrygian sounds like x' because they played it for a while.
Now what's happened since then is people have started teaching things backwards. They start off talking about modes for people who are learning to play over changes which aren't for modal jazz. So if you have an opportunity to play a particular mode for a single bar or half a bar it makes absolutely no sense to talk about the 'mood' of that mode.
For playing over changes, I would recommend learning how to identify the key centres in a piece and get really really good at major and minor ii Vs. Look at chord tones and keys rather than scales. Look at how chromatic chords in a key centre introduce accidentals which you need to observe.
You will find people who have very isolated examples which work for them about how to play over a particular set of changes using a particular mode on a certain chord. This is really different to using modes as your main way of approaching changes. These are more like 'tricks' than what you could call a system. Start with the arpeggios, the chord tones and you'll get to where you want to go faster.
I think if you want to explore the 'mood' of a mode you really need to be playing some music that allows you to stay in that mode for a long time, so it needs to be modal music. If you want to explore this, get a drone and play the mode over the top. But I wouldn't try and solve your approach to note choice over harmony with modes.