The problem most people had with the Misfits reforming with a new singer in the late ’90s is that it felt a little toothless. Jerry Only winning the rights to the band’s name and identity in court didn’t come off as terribly punk rock, and the hard turn into niche convention-style horror fandom felt even less so. Without Glenn Danzig’s bark and misanthropic attitude, the Misfits were more polished and film-centric than ever, with Basil Gogos cover art celebrating songs about whatever movie was featured in Famous Monsters In Filmland that month. That seemed like a far cry from the death punks whose fascination with old gore flicks went hand in hand with a fascination with the very real terror of the violent world. But the truth is that if one removes the weight of the Misfits’ legacy from t...
