Synth instruments were very tinny and canned sounding, but that's a common problem. Biggest issue was their volume and raw, unpolished sound overpowering the rest of the track. You also share the same problem as most independent producers writing metal. Guitars sound thin. Bass is hiding in the mix. Snare sounds a little dead. Cymbals are also buried. I do like the kick, however.
Writing is well done, and I haven't gotten bored, although I must say that pad and the chords just ported around in the same perfect fifths, etc., and that's pretty boring when it isn't guitars doing it. Makes it obvious, I suppose, because other instruments lack the distorted quality that guitars have. Intro would have been sweet without that pad – or just with a monophonic triangle wave/low-passed saw wave. Glitzy fantasy noises and sweeps are of course all the rage.
What I really wish is your guitars were brought up to the same standing level as those tinny synths, bass was turned up, grittier, given a bit more high end, and those synths were given a little more shape to their sound. As is, it almost sounds like riding on presets. I'm not even sure I can hear an actual bass guitar, which is sad, because bass guitars are just nice. A baritone guitar or 8 string is no replacement for a bass. The synth bass used had a nice tone to it, but I could barely hear it over the other synths and guitar.
Also, the drum mix is one huge problem. They're flat, dead, sound like a metronome, are not compressed well, panned somewhat too extremely, somewhat too dry, and are utterly buried in the mix. The drums are important! Let them drive your track home!
The cymbal roll to start with is very sensitive dynamically, but it's literally the only cymbal part that sounds good, dynamic, and pretty. The rest sound sonically dead. Those multiple hits in the are machine gunning really badly. Snare and bell hits really take me out of my element. Anything 16th notes and faster on your perc honestly is making me cringe. If you can't make it sound good, write around it and avoid it at all costs. Good writing includes accounting for what you're working with, not just mindblowingly awesome ideas. The bestest, most complex song in the world is worthless if no one can do it justice.
I also sincerely hated that pad. This is not jazz, and if you pay attention, you can hear all sorts of notes outside of the chords we're working in here. In terms of turning me off of a musical moment, it was the worst offender. Didn't like the decay or release times on it either. Needs to be tighter, with less bleed-over into the next chord.
Guitars themselves were fine. Although at times they sounded very muted or very crunchy at points where it was dynamically insensitive for them to be so. No, I'm not talking about that low-pass, hi-pass cheat up at the first half of the song. More specifically, the breakdown at around the 3 minute mark, we get the solo we're yearning for, but it's short lived and sounds like your DI box might have swallowed a potato. Your lead guitar sounds like it's hiding behind a pillow made of rainbows and sunshine, as opposed to very bright synths! I can't really comprehend some of your dynamic choices either. As this is metal, guitar should be prominent (although not overpowering), yet even when the guitar has the lead, the synths are EXTREMELY loud in comparison.
So, in essence, reasonably well-written song marred by shoddy mixing, mastering, and questionable dynamics. I enjoyed the listen, but a lot of problems stand out. Also felt the bells and piano at the end were so quiet and short, they may as well not have been there. The song could have just as well ended with one of the classic metal stingers and I'd be unbothered.