EX-Misfit guitarist Doyle Wolfgang Von Frankenstein breaks new ground with His first Solo Record as “DOYLE” 

Released on Doyle’s own label, Monsterman Records, Abominator is a sonically thick and lyrically evil slab of horror- punk tinged metal that finds Doyle expanding in a logical progression upon the genre of music he helped create. Doyle’s first band, the infamous Glenn Danzig-fronted Misfits, helped create the genre of speed/thrash metal with their last album, 1983’s “Earth AD/Wolf’s Blood”- in fact the record has been revered as one of the blueprints for the genre by many of its most respected players, as evidenced by countless groups covering the album’s songs, not the least of which being Metallica. Abominator is not the sound of some punk guitarist gone metal- it’s the roaring return of one of extreme metal’s original architects to his blood- splattered drawing board. 

Recording both guitar and bass tracks for the album, the unmistakable sound of Doyle’s signature Annihilator guitar cuts through on every tune, starting with the snarling opening title track “Abominator” fans of the Misfits will recognize it right away. But the guitar tracks rip through the record with much heavier metallic force than his previous bands’s recordings – in short it’s the sound he’s been trying to capture all along, and it’s positively malevolent. 

While the horror punk vibe of The Misfits does permeate the album (as it should), the guitar work on Abominator is more technical (and far meatier) than your average punk rock record. 

With guitar, bass, and drums laid down (live show bass duty is handled by fellow Jersey native, “Left Hand” Graham), the vocals for Abominator claw their way out of an unlikely locale- the American Deep South. Coming from a legendary band of almost mythological proportions, and having first worked with one of punk and metal’s most talented and respected vocalists (the infamous Glenn Danzig), Doyle’s new project would need a singer with brass balls, cast-iron pipes, a suitably twisted mind, and his own vocal delivery style. Enter Alabama’s Alex Story of Cancerslug, a Southern fiend who more than meets all of the afore-mentioned qualifications. His sand-blasted scream opens the record, and the evil doesn’t relent until the ending growl of “Hope Hell Is Warm”, the album’s defiant closer. The man can scream and sing, and employs both styles to great effect, switching seamlessly from raw-throated roars to rough-edged, yet melodic, horror punk-style clean vocals. 

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