Thomas Andrew Doyle

Thomas Andrew Doyle Releasing His 9th Solo Album ‘Forgotten Sciences’ on June 23

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Forgotten Sciences is the ninth solo full-length by the “Grunge Grandfather” Thomas Andrew Doyle (aka Tad), who brought us the pioneering grunge-era band TAD, the punk aesthetics of Hog Molly, and the heavier doom-metal of Brothers of the Sonic Cloth. Watch a teaser video below.

On this new release (due out on June 23 via MVD Entertainment), Doyle continues to go back to his symphonic roots, to begin a new musical chapter in his already impressively successful career. Flexing his musical prowess yet again in a never-before-utilized way, Forgotten Sciences showcases Doyle’s many vocal and multi-instrumental talents. The songwriting and lyrical content delves into the darker side of human existence, yet the underlying message is a positive one.

Doyle states, “This album is a note to self to stay in the moment and clear of the trappings of time. It is an affirmation that everything important happens in the present moment. Everything is an inside job, and there are no solutions to be found outside our indomitable spirit.”

Forgotten Sciences is available for pre-order now: LP | CD | Digital

1. Part I -Skies Full Of Coal
2. Part II -Odes To Horrible Dreams
3. Part III -Machine Noises Sing 04:30
4. Part IV -Phantoms Of The Past
5. Part V -Watching Time
6. Part VI -The Shining Clouds
7. Part VII -Your Path To Take
8. Part VIII -Truth
9. Two Contradicting Truths (digital bonus track)

About Thomas Andrew Doyle

Born Thomas Andrew Doyle in the 1960s in Boise Idaho by two army veterans in a lower-middle-class family, Tad is most widely known for being the front man and leader of the band TAD. Tad was one of the founding members of the grunge music movement.

He began his musical passion and career at the age of 5 years old when he would bang on oatmeal boxes and coffee cans trying to emulate his older brother who had a drum set. His formative years were spent first learning how to play the E-flat Tuba in grade five that his grandfather had played in the early 1900s.

However, Tad’s true passion was for drums and percussion. In grade six he took the next step in his journey by studying the vinyl records of the time and playing along on a set of drums given to him by his grandmother, which he still has and plays to this day.

Later, Tad graduated high school, then continued his education by studying music composition and performance at Boise State University mentored by the nationally known and respected Dr. John Baldwin, a music professor. At the age of 18, he began playing drums in jazz bands and quartets in nightclubs around the Boise area.

Later he played in rock and punk rock bands around the area before deciding to move to Seattle with his band H-Hour in 1986. Enter the story of TAD the band.

TAD (Sub Pop, Giant, East West, Amphetamine Reptile) were one of the heaviest Seattle bands to emerge from the mid to late 80s, fashioning a loud, slow, lumbering grind that unlike many of their peers, was inspired far more by ’70s metal than punk. Devoid of melody and focused on their feral-pounding rhythm and primal-tonal-assault, TAD are still respected and revered as one of the most ferocious bands to come from the U.S. West Coast. Tad’s music simply steamrolled over everything in its way. The band’s albums recorded with Jack Endino, Steve Albini, and Butch Vig helped usher in the “grunge” movement. A cameo in Cameron Crowe’s ‘Singles’ and tours with the likes of Nirvana, Alice In Chains, and Soundgarden followed, with the band ultimately disbanding in 1999.

In 2017, Thomas Andrew Doyle (TAD, Brothers of the Sonic Cloth, Hog Molly, H-Hour) went back to his symphonic roots to begin a new musical chapter in his already impressively successful career. Roughly a year later, in April of 2018, Incineration Ceremony was released to the universe as a fresh and very unexpected work. The result took what people thought they knew about the grunge/doom-metal legend and shattered all preconceived notions and perceptions about what he was capable of. Doyle had returned to his formative roots and came forth with a symphonic take on what was going on in his head. Spawned from the dark, tenebrous recesses of Doyle’s psyche, came an immense sound of textures, rhythms, and material suitable for film scores and stand-alone listening, disquieting all who are within an earshot.

People who are familiar with his music should expect the unexpected. Doyle’s entry into the world of symphonic composition is no novice attempt. Incineration Ceremony is a musical journeyman’s expression that is genuine, heartfelt, honest, uncompromising, and revelatory. It is superbly visceral in its delivery.

Heralded by many as his finest work to date, Doyle has been called the “musician’s musician” by his peers.


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