_{Review by Kayla Hamilton (@kaylazomboid)}

The phrase ‘it’s been a long time coming’ is thrown around a lot, but when it comes to the latest drop from Thai hyper pop metal act Defying Decay, this one truly has been in the works for a while. 

Last week, they released the full-length Synthetic Sympathy, which is truly an encapsulation of where the band is right now. 

Opening with the instrumental ‘The Requiem: A Bipolar Nightmare’, it does the job of setting the atmosphere. I highly suggest listening to this with good headphones, as the first few times I listened to this, I did not truly get the full experience of all the subtleties in the composition. That statement also applies to the entire album, so as you settle in, make sure you have that high-quality sound going.

Flowing seamlessly into ‘Built To Fall’, we are introduced to the full marriage of the strings and the band. The composition of this song provides the perfect build, working up to a dramatic peak that eventually bursts with a fullness that puts the skill level of the act’s songwriting on full display. It sounds weird to say this is the perfect second track on the album, but from the start, it is evident that so much thought went into every moment, especially the song order.

Then it was time for one of the band’s most well-known singles, ‘The Law 112: Secrecy and Renegades’. While the song has been around for a while, it does sound like it has had a bit of a mixing makeover. The track that landed the band in a bit of hot water in the past still packs the punch of defiance and criticism. It has that real signature Defying Decay groove. The drums sound so full, and it is one of those songs that gets stuck in your head. The vocal rounds of the outro are the perfect way to fade it out into the next song, and with the added samples, it leads beautifully into the album’s feature single, ‘RX Regicide’.

As a long-time follower of the band, I’ve had my favourite songs by them for a while (including a song that does feature later on the album), but ‘RX Regicide’ might be jumping to the top of the list. That main riff is catchy as hell, and honestly, it is the perfect example of a classic emobanger evolved for 2026 ears. It blends a hit of nostalgia with a modernised sound. While the vocal feature from Kellin Quinn is one of the track’s highlights, personally, my unsung hero of this release is guitarist Ponn. 

‘Pale’ was debuted live at the band’s set at Rock Alarm 2026 (read our recap here) with a full orchestra, and while I did think it was a bit risky to play new songs at a festival slot, it truly did the recording justice. It doesn’t sound very academic or fancy, but the best way for me to describe this song is that it is pretty. When I say pretty, it means that it has a sense of whimsy, an ethereal soundscape that truly demonstrates the “pop-metal” descriptor that they have given their sound. If you took away the bigger, heavier parts, it would make an incredible pop-ballad, and with those pasts, it’s just a powerful song.

Earlier, I mentioned that this album featured one of my favourite tracks from Defying Decay, and that is the track up next, ’21 Stitches’. It really has more of a “metalcore” feel in its song structure, so it is hardly surprising that it tickles my fancy, but the rhythm section is what caught my initial attention. The bass riffs in the verses have an unescapable groove, backed by the drums; you can’t stand still. The second verse, especially in those bars just before the chorus, where the drums play with those light rim shots- just scratches my brain perfectly. The breakdown is sick, and overall, it is just a well-written heavy track. 

Going back to the track placement, ’21 Stitches’ sits between two expert examples of great pop-rock. While ‘Pale’ is a little more melancholic, ‘Clouds’ has a ‘song of the summer’ kind of vibe. Yes, this single dropped a while ago, but it still hits just as hard. The vocal feature from Violette Wautier brings in some gorgeous harmonies with the band’s frontman Jay, and it is one of those songs that just will get in your head and make you feel good.

Now every band needs a bit of a signature track, and ‘MEANiNGLESS!’ provides this. While some of the older tracks on the album feel refreshed to blend in with the sound of this album, ‘MEANiNGLESS!’ to me was when this album run started. If you dive back through their discography, as great as it is, there seemed to be a few different lanes they were trying to go down with their sound, but when they dropped ‘MEANiNGLESS!’ it felt like they had picked a direction and identified how they wanted to sound. It is cohesive, heavy, but still displays those hyperpop sensibilities.

As ‘Prelude: A Peaceful Sleep’ hits the ears, the first thought I had was Disney, but that is more because I associate the epicness of the strings with a fantastical and cinematic feel. It sets the tone before jumping into ‘Debris’. 

‘Debris’ carries through that signature riffage that is prevalent on this album and has an element of drama throughout. There is a strong sense of moodiness and melancholy that gives the song such depth. One of the album’s biggest strengths is the mix. It is all encompassing, and you can hear every minute detail. This song could easily also be a single, but it is nice that it is tucked in as a little treat for those who take the time to listen to the album.

Speaking of little treats, the symphony continues, and this time we hear a lot more strings and what sounds like some acoustic guitars with ‘Last Reply’. This has an alt-rock cult favourite B-side written all over it. I am not sure if the band is aware of this, but it could just be a testament to the influence they had on the sound of that era; there is a strong Silverchair vibe in the harmonies of the guitars and strings.  Overall, it is just a lovely composition and again, continues that almost cinematic experience. 

As we head to the business end of the album, ‘Inside These Lies’ starts the trek towards the finish with a nu-metalesque feel. It is grungey, heavy and shows a little more diversity in the vocal offerings. Reminding us at their core that Defying Decay are a heavy band. The rhythm section here has a real chance to shine, and in the final minute, each instrumentalist has a chance to shine in their own little way. It is a short song that might not be a standout, but it is definitely a worthwhile listen and flows fantastically into the previously released ‘System Of Sinners’.

Much like ‘Inside These Lies’, there is a more nu-metalcore vibe in the instrumentation and composition, and like a lot of the original nu-metal bands, there is real skill in the vocal delivery that might sometimes go unnoticed. Really pay attention here and see how the vocals are really utilised as an instrument and not a separate entity. 

In true metalcore/emo band fashion, the final track is a soft ballad. It is almost a cliche, but it is one that is always welcomed and done with a reason. ‘Hide & Seek’, when it was released, was quite a different venture for the band’s sound, but when included in this album, it really has earnt it’s place as a suitable finale. It has this indie rock quality that may, on paper, seem like a diversion from the band’s previous releases, but it still inherently feels like a Defying Decay song. The way it builds is masterful, and that crescendo with that epic chorus and outro really washes over you. 

The soft fade-out is the perfect way to end this album. It feels finite. It doesn’t leave you wanting more or immediately prompt you to run it back. That is not a bad thing. It honestly makes you want to listen to silence and sit with what you have just listened to. It leaves you satisfied and impressed. 

That being said, do give it multiple listens. There is a reason it’s taken so long to write this analysis.
It is an album that deserves your attention, not just a passive listen. It is detailed. It is deliberate, and overall, you can tell a lot of love and care went into every second.

If you have never listened to Defying Decay, then this is where you start.
It is the perfect introduction to a band that, for a long time, has had a rich diversity in sound, but has now found a way to mesh and curate an identity.

Synthetic Sympathy is out now.
Listen to it here.

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