Zurich based musician Marty McKay delivers a fusion of rap and rock in the same vein as Linkin Park and Alec Empire.
‘Sin’s Disciple’ is an ambitious concept album looking in depth at the seven deadly sins. McKay presents himself as one who chooses to stand up against the evils of captitalism, using music and lyrics as his weapon against the machine.
The album is slickly produced, which scratching in all the right places and female backing vocals that wouldn’t be out of place on an Evanescence record. It’s moody, with a large helping of brooding darkness.
‘Can’t Get Enough’ channels sounds similar to those used by the Gorillaz, while single ‘Emptiness Returns’ opens with an unsettling edginess that would fit very nicely on the soundtrack to the film 28 Days Later. The percussion part is atmospheric and industrial, with a wheezy, crackling snare that drives the track along towards the explosive guitars in the chorus.
The vocals and guitars are consistent throughout – McKay has defined a clear sound he is after and sticks with it. What is most interesting about the record is the parts behind the mix which become clearer on closer inspection with headphones – clicks, vocal tweaks, bleeps, and scratches.
It’s certainly a challenge to use music to get your message across. Years ago Rage Against The Machine eventually stepped back after they felt their agenda wasn’t being truly listened to. If McKay’s message found within ‘Sin’s Disciple’ is able to reach and challenge people in the way he is passionate about, then it will have done its job.