Released Jul. 30th on Monsterman Records
I discussed the background of Doyle and of this album last month during my run of Halloween songs, so I won’t rehash here except to say that the band finds ex-Misfits Doyle Wolfgang von Frankenstein (guitar) and Dr. CHUD (drums) working with singer Alex Story of Cancerslug. Doyle played all the guitar and bass parts on Abominator and also produced the album.
As mentioned in my earlier post, Abominator is some of the heaviest metal the guitarist has ever done. More polished and with better production than his Gorgeous Frankenstein material, it alternates between doomy riffing and full-throttle thrashers. The galloping title track, the Motörhead-esque “Headhunter”, and the gargantuan “Land of the Dead” are all highlights, led by Doyle’s characteristic heavy downstrokes and screeching solos. The single “Valley of Shadows” rides a pretty standard thrash riff that’s nonetheless infectious.
Vocally, this album is very much in the classic horror punk/metal vein. Singer Alex Story is a muscular, mutton-chopped, Danzig-esque dude whose meaty voice is a much better fit for these songs than Gorgeous Frankenstein singer Landon Blood was for that project’s material. He sings about typical horror-themed subjects like murder (“Learn to Bleed”), decapitation (“Headhunter”), necrophilia (“Dreamingdeadgirls”), zombies (“Land of the Dead”), demons (“Mark of the Beast”), and boning in graveyards (“Cemeterysexxx”), but not in a manner that suggest he’s trying to shock or push the limits of grotesque. Instead, he commits to the material in a way that encourages fist-pumping and singalongs, indicating that the band’s aim is to have a good time reveling in the horror imagery rather than trying to paint themselves as the blackest of the black.
I’m not as fond of the album’s gloomier, doomier numbers as I am of the fast ones. “Dreamingdeadgirls” has some awesome scream-like guitar work in the verses, but its chugging chorus is kind of dull and the lyrics are meh. “Cemeterysexxx” is a bit better, with a raunchy go-go bassline that recalls the Gorgeous Frankenstein material (much of which was written for Doyle’s wife, exotic dancer Gorgeous George, to dance to; that’s probably her faking orgasms on the track), but I prefer the more forward-thinking tracks. “Love Like Murder” plods, but gets better when it speeds up to a thrashing pace in its middle third, a trick “Bloodstains” later repeats.
Fortunately these more leaden numbers don’t really detract from the overall headbanging fun of the album. “Mark of the Beast” has a heavy Metallica vibe, particularly in its intro, while closer “Hope Hell Is Warm” end things on a mosh-inducing gallop. The whole affair is fun and recommended for fans of the ’90s-era Misfits or those who like some horror in their metal.