Tad
Inhaler

"The most powerful and aggressive sound that Sub Pop has ever managed to pull off "; the words from New Musical Express about "Bleach"; 1989.

Reading this phrase, it becomes clear that New Musical Express hadn't accounted for Tad and their "God's Balls", (released the same year), a cousin to "Bleach", but much heavier. Four years later, in '93, two more albums were released, not very different from each other: "In Utero" and "Inhaler". While Nirvana became even richer, more famous, and Mainstream, Tad had become legends in Seattle's underground, but without going beyond.

"Inhaler", as far as Tad is concerned, is an extremely important album, for better or worse: in fact, it is the first album produced by a major label after the break with Sub Pop, (of which they were pioneers), and sees a certain J. Mascis at the production helm, and the result is a masterpiece that is different and distant from everything that had been heard on Seattle's streets, absurdly excessive. "Inhaler", unfortunately, brought the band a series of unpleasant surprises: it was a flop, "the first of the two", compared to "God's Balls" and "8-Way Santa", decidedly more successful. Deep and experimental, especially where the previous ones seemed, indeed, were vulgar and raw. An album capable of creating in the listener a strong sense of confusion, but not due to complicated solos or tempo changes, rather, it amazes because it is a brilliantly simple album. Heavy Metal bases adapted to Grunge and vice versa, and lyrics dictated by the indifference of their indifferent leader Tad Doyle (who in the end is not even that awkward or rough, just misunderstood).

A notable turn even in the construction of the tracks, which are now completely stained by pop (still very elaborate), but which will be their final disgrace in "Infrared Ridinghood"; Doyle's singing, which in my opinion was never very effective, becomes even more subdued, or, to other ears, might appear even angrier and more animalistic (depending on the song). However, the beauty of the album, (beyond the clarity of the sound), lies mainly in the technical preparation of the members: Kurt Danielson powerfully hits the bass keys, while new drummer John Synder shows his experience in hardcore; Doyle, although not a very noteworthy vocalist, demonstrates a certain skill as a guitarist, (especially in the final track "Gouge"); finally, Gary Thorstensen, performs miracles alternating fat and violent solos, with the arpeggio reminiscent of the Pixies in "Luminol".

They would end dramatically in obscurity in '95, after the release of the failure "Infrared Ridinghood", which would keep them forever away from Eastwest.