Lodi, a small borough of Bergen County, New Jersey, is just over two square miles. There’s not much to suggest that the small village would be the birthplace of a world famous, blood-soaked form of music known as horror punk. Legendary acts Samhain, and Danzig all have their origins in Lodi, and something monstrous indeed lurks there. The poster child and originator of the genre, himself, has once again unleashed an evil noise on an unsuspecting world: Doyle Wolfgang Von Frankenstein’s first release, Abominator, by his eponymous band, Doyle.
Released on Doyle’s own label, Monsterman Records, Abominator is a sonically thick and lyrically evil slab of metal that finds Doyle expanding in a logical progression upon the genre of music he helped create. 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.
Coming from a legendary band of almost mythological proportions, and having first worked with one of the most talented and respected vocalists of the century (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’s 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, clean vocals. Alex’s live performances can only be described as unforgettable, disturbing and strangely addictive – a perfect complement to the already mammoth stage presence of Doyle himself.
The unmistakable sound of Doyle’s signature Annihilator guitar cuts through on every tune like a sonic fingerprint, starting with the snarling opening title track “Abominator”. The Annihilator’s tone is sharp as a butcher’s knife in the wrong hands and just as nasty- fans of the Misfits will recognize it right away.
On tunes like “Headhunter” and “Land of the Dead” the riffs are relentless, and if a riff could be described in emotional terms, remorseless. “Dreamingdeadgirls” brings a blackened-blues swing, and the doom-laden “Love Like Murder” shows a healthy appreciation for all things Sabbath. “Blood Stains” moves from primal sludge to ripping off-time thrash with ease. The album is just that- an album, a cohesive and well executed piece of work that takes the listener on a journey; albeit a bloody journey to places some fear to tread.
As befits songs as musically dark as Abominator‘s, the album’s lyrics are not for the faint of heart. Throughout the entire record, there is absolutely zero attempt to balance its evil with any sort of good counterpoint- penned entirely by Story (probably in blood), Abominator‘s lyrics are entirely and uncompromisingly dark. Music fans looking for feel- good anthems had best look elsewhere- those who enjoy strolling through the shadows will be greatly satisfied.