I mixed some tracks a couple of years ago that had the singer "singing" into a condenser (they used an M49) on the calmer-toned verses, but for the energy in the choruses (big and aggrivated), the performances
were made a ton better by giving the singer an SM58.
This is what he was used to from performing live, and it gave him some tangible object to focus into -- he was able to grip and clench the body of the mic with both hands, spit into it and slobber all over it, bend over and sing towards the floor in emotional anguish, whip his hair around and all those other delightful, wonderful and charming things that go into a vocal of this type
... and you know what? It worked like gangbusters. Very nice.
So, my advice? Think less vainly about the 'sound' and more about what you can do to enable the kind of performance that'll make it great.