REVIEW: The Pendulum Swings, The Tableread Magazine

July 23, 2026 | jjbarnes

Deardarkhead Delivers Masterpiece With New Album,
The Pendulum Swings

Deardarkhead return with their captivating new album, The Pendulum Swings, blending soaring guitars, atmospheric textures, and decades of evolved musicianship into an unforgettable instrumental journey.

New Jersey alternative rock and dreampop pioneers Deardarkhead have officially made their long-awaited return with the release of their brand-new full-length album, The Pendulum Swings.

Marking their first complete album release in decades, the record captures the veteran outfit in a vibrant phase of artistic renewal, experimentation, and refined musicianship. Led by the powerful single “Letting Go,” the album showcases a band that has masterfully evolved while staying true to its atmospheric roots

A New Chapter in Instrumental Soundscapes
The standout single, “Letting Go,” serves as a dynamic instrumental anthem built upon soaring guitar leads and melodic bass hooks. Rather than following traditional lyrical structures, the track acts as an atmospheric reflection on personal growth, transformation, breaking free from stagnant patterns, and stepping boldly into fresh directions.

The song’s lush textures are significantly enhanced by guest keyboards from Joe McGinty of The Psychedelic Furs. McGinty brings a wealth of experience to the track, having previously collaborated with notable acts like Nada Surf, Ryan Adams, and Deborah Harry.

The single’s roots trace back to an initial piano composition by guitarist Kevin Harrington, which quickly evolved into an expansive anthem. The recording features former bassist Brandon Howard, who handled bass duties in the studio before James Malizia officially stepped into the role alongside Harrington and drummer Robert Weiss.

High-Profile Production and Craftsmanship
The Pendulum Swings represents the band’s sixth overall release and their second full-length record. To bring this ambitious project to life, Deardarkhead utilized Miner Street Recordings in Philadelphia, teaming up with renowned producers Brian McTear and Amy Morrissey—whose impressive production credits include The War on Drugs, Kurt Vile, and Sharon Van Etten. Additionally, the record benefited from the expert touch of Grammy-nominated mastering engineer Joe Lambert, known for his work with Animal Collective, Beach House, M83, and Blonde Redhead.

Musically, the album traverses a wide sonic landscape, shifting fluidly between soaring psychedelic-infused guitar anthems, driving post-punk rhythms, and spacious ambient passages. The band successfully pushes their instrumental boundaries by incorporating drum loops, unconventional time signatures, ebow textures, bass VI, and intricate guitar layering.

Decades of Evolution and Shoegaze Roots
Formed in 1988 around the Atlantic City, New Jersey area, Deardarkhead took their name from Samuel Ferguson’s 1867 Irish poem “Cean Dubh Dilis.” Over nearly four decades, the group has carved out a distinct identity blending atmospheric dreampop, shoegaze shimmer, and ethereal rock.

Following the 2009 departure of original vocalist and bassist Michael Amper, the outfit transitioned entirely into an instrumental format, allowing melody and texture to take center stage. Their rich history includes sharing the stage with major acts like Supergrass, The Psychedelic Furs, Everclear, Nothing, and The Lilys.

Throughout their career, the band has maintained an impressive independent legacy. They released five early recordings through Fertile Crescent Records—beginning with their 1998 debut full-length, Unlock the Valves of Feeling—and had their music featured on numerous indie compilations in the United States and Japan. Their archival work received wider recognition when Captured Tracks launched Oceanside: 1991-1993 in 2011 as part of their Shoegaze Archives series, followed by the critically acclaimed Strange Weather EP via Saint Marie Records in 2016.

With The Pendulum Swings now out in the world, Deardarkhead bridges their storied past with a forward-thinking, mature perspective, proving that their signature blend of shimmering guitars and moody soundscapes remains as vital and captivating as ever.

https://www.thetablereadmagazine.co.uk/deardarkhead-delivers-masterpiece-with-new-album-the-pendulum-swings/

REVIEW: The Pendulum Swings, Pop Fantasma

July 22, 2026 | Ricardo Schott

We Hear: Deardarkhead - ‘The Pendulum Swings’

Rating: 8.5

After 25 years, Deardarkhead returns as an instrumental act, transforming classic shoegaze into melody-rich guitar work that seems to hint at hidden lyrics.

New Jersey shoegaze group Deardarkhead has returned with a very different sound on their third album, *The Pendulum Swings*. For starters, the band—originally a quartet—lost vocalist Michael Amper in 2009; consequently, the new trio plays exclusively instrumental music (!).

Today, the band consists of Kevin Harrington (guitar), Robert Weiss (drums), and James Malizia (bass; he joined the trio after the new album was completed). Another detail is that they hadn't released anything new in 25 years: their previous album, *Oceanside*, came out in 2021.

In reality, the sound of *The Pendulum Swings* ends up resembling projects where vocal-heavy material is reimagined as instrumentals—where the music itself casts a "shadow" of the lyrics. This isn't instrumental music built on ambient soundscapes or endless solos; Deardarkhead embodies the early shoegaze sound, heavily echoing the style of Ride’s debut album, *Nowhere* (1990). "Flamethrower," the opening track, begins with the same stray cymbal hit found in "Seagull"—the psychedelic opener of *Nowhere*—but quickly gains groove, heaviness, and a near-Zeppelin-esque riff.

Riffs reminiscent of Ride, the *Leisure*-era Blur (1990), and Joey Santiago’s guitar work with the Pixies alternate across tracks like the post-punk-tinged "Coming Undone," "Tomorrowland," "In Another Life," and "Tears"—the latter featuring a looping bassline and tension-building guitar work. Echoes of The Stone Roses surface in the brisk "Sad Songs (And Better Days)" and in "A Thanksgiving."

There are even connections to the 1987-era Echo & the Bunnymen in "Letting Go," and to early U2—the latter evident in the martial "Black Pearls"—as well as a touch of experimentalism in the oscillating sway of the title track. One might even find oneself thinking, "Imagine all this with lyrics and vocals!" yet the real charm lies in the imagination that Deardarkhead’s music sparks.

https://popfantasma.com.br/deardarkhead-the-pendulum-swings/

INTERVIEW: Matt Connarton Unleashed on 95.3 FM WMNH (Manchester, NH)

Deardarkhead will be doing a live interview with Matt Connarton for his radio show Matt Connarton Unleashed on 95.3 FM WMNH on Saturday 7/25/26! The show starts at 9 AM and we will be on at 9:15 AM. You can tune in and listen at either of these links:

https://mattconnarton.com/live

https://www.wmnhradio.org/listen-live

REVIEW: The Pendulum Swings, New Jersey Stage | BlowUpRadio.com's New & Notable NJ Music

July 20, 2026 | Lazlo

Lazlo, founder of BlowUpRadio.com (an online radio station based around New Jersey artists), shines a light on some of the many new releases from NJ based musicians with this column. This week Lazlo takes a look at new releases by Deardarkhead, 3 Dollars, CR & The White Lights, Stephanie Seymour, and Lucky Star. Plus a look back at "Sorry Can't Make You Feel The Pain" by Past Having Doubt.

Deardarkhead - "The Pendulum Swings". Some people look down on instrumentals as not being rock, but if you think the songs on Deardarkhead's new album "The Pendulum Swings" could be improved by having vocals I would strongly disagree. The dreamy-shoegaze-pop-rock songs are magical.

https://www.newjerseystage.com/articles2/2026/07/20/blowupradiocoms-new-and-notable-nj-music-72026/

ARTICLE: Record release party for ‘The Pendulum Swings’ by Deardarkhead this Thursday at Anchor

July 16, 2026 | Doug Deutsch

Tune In Turn On With Doug Deutsch

As I sit here listening to advance tracks from “The Pendulum Swings,” the 10-track instrumental album by longtime Atlantic City indie rock band Deardarkhead, I find myself preparing for the band’s album release party Thursday, July 16, at Anchor Rock Club in Atlantic City’s revitalized Orange Loop. Naturally, I wanted to learn more about this intriguing trio, whose sound blends shoegaze, dream pop, psychedelic rock and post-punk. So, Tune In Turn On reached out to drummer Robert Weiss, whom I’ve known for years.

“‘The Pendulum Swings’ is a collection of both older and newer material that we are very proud of,” Weiss said. “Each song has its own distinct vibe, but together they make up the DDH sound. The final and title track, ‘The Pendulum Swings,’ is one of our newer songs, but emotionally and thematically it perfectly summed up everything the band has been through over the years. It felt like a statement.”

In addition to Weiss on drums, Deardarkhead features guitarist Kevin Harrington and bassist James Malizia, who joined the band after “The Pendulum Swings” was completed, replacing Brandon Howard. The group originally performed as a four-piece with vocalist Michael Amper, who departed in 2009. Since then, Deardarkhead has been an all-instrumental band.

Recorded at Miner Street Recordings in Philadelphia, “The Pendulum Swings” was produced, engineered and mixed by Brian McTear and Amy Morrissey, whose credits include The War on Drugs, Kurt Vile and Sharon Van Etten. Grammy-nominated engineer Joe Lambert, known for his work with Animal Collective, Blonde Redhead, Beach House, M83 and Wild Nothing, mastered the album. It will be released on the band’s own Fertile Crescent Records label.

Wondering where the band’s unusual name came from? It was inspired by Samuel Ferguson’s 1867 Irish poem, Cean Dubh Dilis.

There’s no doubt Deardarkhead is excited to debut the new album before hometown fans.

“We are beyond excited to be back at Anchor Rock Club for our record release show,” Weiss said. “We’ve got a great lineup planned.”

The evening will feature DJ Bob Portella of WLFR 91.7 FM, who has hosted Transmission Radio since 1985, spinning records throughout the night.

Also performing are The Falling Out, featuring members of several longtime Philadelphia and South Jersey bands, including The Improbables, The Justines, The Blessed Muthas, The Tone Bandits, The Flyswatters and The Midnight Beat. The group combines strong vocal harmonies with generous doses of reverb and fuzz.

Philadelphia-based Bitter Bitter Weeks, led by McTear and Morrissey, also will perform. Joined by former Improbables drummer Jeremy Grites, the band blends indie folk, avant-garde noise rock and Americana into an emotionally rich indie-rock sound.

We also asked Weiss about the current state of the independent music scene. Is it promising or prohibitive?

“The indie music scene is stronger than it’s ever been in South Jersey,” Weiss said. “There are far more bands now than when we started in 1988. Anchor Rock Club has been a huge win for Atlantic City-area indie fans, and the crowds just keep getting bigger. Other venues like The Seed Brewery, Obscura Brewing Co. and Little Water Distillery also support original music, and it’s great to see people coming out.”

Making a living as an independent musician, however, remains difficult.

“Streaming has changed the entire music industry,” Weiss said. “Bands don’t make much money selling records anymore. Most income comes from constant touring and selling merchandise. It’s possible to make it, but it’s tough, even if you get lucky. For Deardarkhead, success is about longevity and continuing to release the music we want to make.”

Deardarkhead performs with The Falling Out, Bitter Bitter Weeks, DJ Bob Portella and special guests Thursday, July 16, at Anchor Rock Club, 247 S. New York Ave., Atlantic City. Doors open at 7:30 p.m. Advance tickets are $16.35.

https://shorelocalnews.com/record-release-party-for-the-pendulum-swings-by-deardarkhead-this-thursday-at-anchor/

REVIEW: The Pendulum Swings, Spill Magazine

July 9, 2026 | Spill New Music

DEARDARKHEAD – THE PENDULUM SWINGS

A SPILL EXCLUSIVE ALBUM PREMIERE

After 26 years between full-length releases, New Jersey instrumental alternative rock trio Deardarkhead return with The Pendulum Swings, a ten-track album released through their independent label, Fertile Crescent Records. Taking their name from Samuel Ferguson’s 1867 Irish poem Cean Dubh Dilis, Deardarkhead have spent nearly four decades developing a distinctive guitar-driven sound that blends dream pop, shoegaze, psychedelic rock and post-punk influences into expansive instrumental compositions.

One of New Jersey’s most compelling underground acts, Deardarkhead have spent nearly four decades forging an original sound, attested to by the glowing reviews that have come in for the album’s first two singles. “The Pendulum Swings” confirms their enduring creative power and marks a stunning return – an immersive, beautifully crafted statement from a band still capable of true sonic wonder.

With The Pendulum Swings, Deardarkhead deliver a remarkable return that feels both deeply considered and effortlessly assured. The album captures a band at the height of its creative powers, combining shimmering guitars, hypnotic rhythms and richly layered arrangements into a powerful, immersive listen. Balancing atmosphere, melody and emotional intensity, the record stands as a defining statement from a group whose vision and musicianship have only grown stronger with time.

Recorded at Miner Street Recordings in Philadelphia, this album was produced, engineered and mixed by Brian McTear and Amy Morrissey (The War on Drugs, Kurt Vile, Sharon Van Etten) and mastered by Grammy-nominated engineer Joe Lambert (Animal Collective, Blonde Redhead, Beach House, M83, Wild Nothing).

Formed in Atlantic City, New Jersey in 1988, Deardarkhead features guitarist Kevin Harrington, drummer Robert Weiss and bassist James Malizia, who joined the band after the album was completed, replacing Brandon Howard. Since becoming an instrumental outfit in 2009 following the departure of vocalist Michael Amper, the trio has focused on creating expansive compositions driven by melody, texture and dynamic interplay.

The album brings together material written across different periods of the band’s history while maintaining a remarkable sense of cohesion. The Pendulum Swings expands Deardarkhead’s approach through adventurous arrangements featuring drum loops, unconventional time signatures, keyboard textures, ebow, bass VI and layered guitar work. The closing title track serves as a fitting reflection on the band’s journey, capturing the themes of change, growth and renewal that run throughout the record.

Lead singles “Letting Go” and “In Another Life” provide a compelling introduction to the album’s emotional range. Featuring atmospheric keyboards from Joe McGinty (The Psychedelic Furs, Nada Surf, Deborah Harry), “Letting Go” explores transformation and moving forward through shimmering melodies and immersive textures. “In Another Life” follows with a more introspective feel, pairing crystalline guitar lines, melodic bass and hypnotic rhythms while reflecting on alternate paths and possibilities. Together, the tracks showcase the depth, precision and emotional pull that define The Pendulum Swings.

In their time, Deardarkhead have built a respected legacy within the alternative music underground, sharing stages with Supergrass, The Psychedelic Furs, Everclear, Nothing and The Lilys. Their debut album, Unlock the Valves of Feeling, was released through Fertile Crescent Records in 1998, followed by Captured Tracks’ retrospective Oceanside: 1991–1993 in 2011 as part of its Shoegaze Archives series. The band returned in 2016 with the acclaimed Strange Weather EP on Saint Marie Records.

With The Pendulum Swings, Deardarkhead deliver more than a long-awaited return. This is a confident and inspired new chapter from a band whose creative momentum remains as strong as ever. This impressive album is now available on CD, digitally, and 180-gram vinyl. On July 16, Deardarkhead’s record release show is at the Anchor Rock Club in Atlantic City, NJ, supported by Bitter Bitter Weeks, The Falling Out and DJ Bob Portella.

https://spillmagazine.com/spill-album-premiere-deardarkhead-the-pendulum-swings/

REVIEW: In Another Life, Musicngear

July 7, 2026 | Eugenia Roditis

The New Rock Generation - July 2026

Deardarkhead - In Another Life

You don't need a single lyric to understand what In Another Life is trying to say. Every shimmering guitar line feels like another road you never took, another "what if" drifting through your mind before disappearing again.

It's a beautiful reminder to stop bargaining with the past and live where your feet are. The song is the second single from The Pendulum Swings, Deardarkhead's first full-length album in over 25 years.

https://www.musicngear.com/blog/new-rock-generation-july-2026

REVIEW: The Pendulum Swings, The Big Takeover

July 3, 2026 | James Broscheid

A quarter century between full-length albums can become either an insurmountable obstacle or an opportunity to rediscover artistic purpose. Deardarkhead embrace the latter with remarkable assurance on ‘The Pendulum Swings’, an instrumental record that communicates with uncommon emotional clarity while never relying on a single lyric. Rather than treating the absence of vocals as a limitation, the New Jersey trio has refined its language of melody, dynamics and atmosphere into something deeply expressive. Every composition suggests stories without prescribing them, allowing listeners to project their own memories and emotions onto a richly textured sonic landscape.

The opening “Flamethrower” immediately dispels any notion that this is an exercise in nostalgia. Kevin Harrington’s layered guitars ignite with controlled intensity, balancing shimmering melodic figures against walls of distortion that retain surprising clarity. Beneath them, Brandon Howard’s melodic bass playing anchors the arrangement with confidence, while Robert Weiss delivers drumming that propels rather than dominates. The result is forceful yet graceful, introducing the album with momentum instead of spectacle. “Coming Undone” shifts toward a more introspective register without sacrificing forward motion. Harrington’s guitar work glides between crystalline arpeggios and expansive washes of sound, creating an emotional dialogue that captures uncertainty with remarkable elegance. Weiss’ percussion subtly alters the pulse throughout the piece, allowing the composition to evolve naturally rather than depending upon abrupt changes. The song demonstrates the band’s ability to sustain interest through nuance instead of excess.

With “Tomorrowland,” Deardarkhead explores optimism tempered by reflection. The melodies reach skyward while the rhythmic foundation remains firmly grounded, producing an intriguing balance between aspiration and restraint. Howard’s bass lines become almost conversational, weaving through Harrington’s guitar textures with melodic independence that enriches every harmonic turn. “Tears” avoids sentimental excess by allowing emotion to emerge through patient development. The guitars shimmer with quiet luminosity, while Weiss introduces rhythmic accents that gently reshape the composition’s emotional contours. The absence of words encourages listeners to engage more actively with the music itself, discovering meaning through phrasing, harmony and tonal color rather than narrative.

One of the album’s most affecting moments arrives with “Sad Songs (and Better Days).” Its title suggests melancholy, yet the music continually reaches toward renewal. Harrington’s soaring lead lines carry unmistakable emotional weight without becoming indulgent, supported by Howard’s beautifully articulated bass melodies. Weiss understands precisely when to step forward and when to recede, giving the arrangement remarkable fluidity. The composition embodies the album’s central belief that hope and sorrow rarely exist in isolation but continually shape one another. The graceful “Letting Go” serves as both emotional and structural centerpiece. Joe McGinty’s keyboard contribution enriches the band’s established palette without overwhelming its identity, adding subtle harmonic depth that broadens the music’s emotional vocabulary. His understated performance blends seamlessly with Harrington’s guitars, creating luminous textures that reinforce the song’s themes of release and renewal. The arrangement possesses an almost meditative quality, demonstrating how instrumental music can communicate profound emotional transformation through carefully balanced sonic relationships.

“A Thanksgiving” follows with quiet confidence, expressing gratitude not through overt celebration but through measured elegance. The interplay between guitars, bass and percussion reflects years of collective musical understanding. Every phrase appears carefully considered, yet nothing feels overcalculated. The composition radiates warmth while maintaining the album’s contemplative character. “Black Pearls” ventures into darker harmonic territory, though never descending into despair. The guitars acquire greater weight, and Weiss’ rhythmic approach introduces subtle asymmetry that keeps the listener slightly off balance in the most engaging way. The piece highlights the trio’s ability to generate dramatic contrast while preserving cohesion across the broader arc of the album.

Among the record’s finest achievements, “In Another Life” captures the quiet melancholy of unrealized possibilities without becoming trapped in regret. Harrington’s soaring lead guitar suggests memories just beyond reach, while Howard’s melodic bass provides emotional grounding beneath the expansive arrangement. Weiss’ drumming, informed by an understated appreciation for cyclical rhythmic patterns, lends the composition a hypnotic quality that mirrors the recurring nature of reflection itself. The music acknowledges life’s unanswered questions while gently suggesting that acceptance carries its own form of peace. The closing title composition, “The Pendulum Swings,” provides a deeply satisfying conclusion. Here Harrington expands his instrumental role, adding bass VI, ebow and bass alongside his guitar work to create an especially rich sonic landscape. The additional layers broaden the harmonic spectrum, allowing the piece to encompass many of the album’s recurring themes within a single composition. Movement and stillness, light and shadow, certainty and ambiguity coexist with remarkable balance. Rather than striving for dramatic resolution, the music accepts perpetual motion as life’s defining condition, making the album’s title resonate both musically and philosophically.

The musicianship throughout ‘The Pendulum Swings’ deserves particular focus because every performance prioritizes collective expression over individual display. Kevin Harrington demonstrates exceptional versatility, building intricate guitar architectures that remain emotionally direct despite their sophistication, while his additional bass VI, ebow and bass work on the closing track expands the album’s sonic vocabulary with subtle imagination. Robert Weiss provides far more than rhythmic accompaniment; his drumming shapes each composition’s emotional trajectory through carefully judged dynamics, inventive accents and an instinctive understanding of pacing. Brandon Howard’s bass playing across the first nine tracks forms an indispensable melodic foundation, consistently enriching the harmonic dialogue rather than merely reinforcing it. Joe McGinty’s tasteful keyboard appearance on “Letting Go” adds another dimension without disrupting the trio’s established chemistry.

Equally significant is the production by Brian McTear and Amy Morrissey. Their recording captures the expansive qualities of Deardarkhead’s music while preserving intimacy within every arrangement. Each guitar layer occupies its own distinct space, allowing even the densest passages to remain transparent. Joe Lambert’s mastering enhances that clarity, giving the album warmth, depth and impressive dynamic range without sacrificing immediacy. ‘The Pendulum Swings’ refuses to rely upon genre convention despite clearly drawing inspiration from shoegaze, dream pop and post-punk traditions. Those influences remain visible, yet Deardarkhead transforms them into something unmistakably personal. Melody carries the emotional narrative, texture provides psychological depth and rhythm supplies constant forward momentum. The absence of vocals encourages closer engagement with details that might otherwise remain unnoticed, revealing a level of compositional sophistication that rewards careful listening.

Rather than marking a nostalgic return, ‘The Pendulum Swings’ represents an artistic evolution shaped by experience, patience and renewed creative purpose. Deardarkhead demonstrates that instrumental music can communicate profound emotional complexity without explanatory lyrics, trusting melody and atmosphere to speak directly to the imagination. It is an elegant, deeply considered album that finds beauty in reflection while keeping its gaze fixed firmly on the possibilities that still lie ahead.

https://bigtakeover.com/recordings/deardarkhead-the-pendulum-swings-fertile-crescent-records

REVIEW: In Another Life, Skylight Webzine

June 28, 2026 | Billy Yfantis

Deardarkhead’s second song from The Pendulum Swings, their first full-length album in 25 years, is an atmospheric and spiritually deep instrumental titled “In Another Life.” Inspired by observations on the unknown paths and unanswered “what ifs” that follow every life, the music encourages mindfulness, while reminding the listener that true peace of mind comes from living in the present. The song begins with a groovy alternative rock basis that creates a warm mood. The rhythm section maintains a steady beat, while the bass guitar becomes especially noticeable at about 0:32, giving motion and depth to the composition. Its melodic lines are more than just accompaniment; they are a vital component of the song’s emotion-driven mood. As the music progresses, the guitars provide uplifting melodic themes that bring out the ethereal characteristics of bands like The Cure. The guitar work is rich in reverb, creating a dreamy mood that frequently leans into shoegaze zone. These broad soundscapes provide the song a floating air aspect, making it sound nostalgic. One of the song’s biggest strengths is its production. The audio mix is nicely balanced, emphasising the melodic interaction between bass and guitar while allowing every layer to operate naturally. The reverbed sounds are presented with exceptional clarity, resulting in a realistic stereo image that rewards attentive listening, especially with headphones. Despite the lack of vocals, the piece successfully expresses emotion. The guitars act like storytellers, leading the listener through moments of mindfulness, hope, and peaceful thought. The hypnotic flow of the composition represents drummer Robert Weiss’ obsession with sitar-inspired droning sounds, giving a soft character without distraction from the song’s melodic focus. Overall, “In Another Life” is a well created instrumental that combines alternative rock, dream pop, and shoegaze influences to create a smooth and thrilling experience.

https://skylight.gr/index.php/2026/06/28/deardarkhead-in-another-life

REVIEW: In Another Life, Real Gone Rocks

June 25, 2026 | Real Gone Rocks

Following the wonderful ‘Letting Go’, Deardarkhead have delivered another winner with the atmospheric ‘In Another Life’. On this track, the instrumental act dive even deeper into a world of late 80s goth sounds with the help of a throbbing bassline and deep sounding guitar lines that venture into the darker corners of a sweeping melody. In keeping with the previous track, a brighter, ringing guitar tone adds some strong lead parts, often drawing again from old goth and post punk influences, but even carrying a faint echo of early work from The Fierce & The Dead. Helping the band to gain even more traction after a long overdue return, ‘In Another Life’ should appeal to fans and first time listeners equally.

https://www.realgonerocks.com/2026/06/the-real-gone-singles-bar-162/

REVIEW: In Another Life, The RingMaster Review

June 24, 2026 | Pete RingMaster

Sweltering with the Shameless: Passional

Another song that is as atmospherically inspiriting as it is shadow involving is In Another Life. It is the new single from New Jersey’s DEARDARKHEAD and the second invitation towards the band’s forthcoming album, The Pendulum Swings which comes out on July 10th via Fertile Crescent Records. It too is a track that draws the listener into a suggestive realm where they can imagine their own individual premise behind the instrumental but also a track that easily had feet dancing.

The Pendulum Swings is the trio’s first full-length album in 25 years and a proposal that, based on the combined adventure of lead single Letting Go and now In Another Life, will find itself the centre of hungry curiosity from DEARDARKHEAD fans and newcomers alike.

In Another Life is like walking into a dark forest of sound with every sinew of its body and scenery as imposing as they are engaging. Even so, with a great grumbling bassline and a melodic hook that borders on intoxication, the track is instinctive contagion even as it battles with dark anxiety and quite irresistible.

https://ringmasterreviewintroduces.wordpress.com/2026/06/24/sweltering-with-the-shameless-passional/

REVIEW: Letting Go, Real Gone Rocks

June 16, 2026 | Dimitris Zacharopoulos

Deardarkhead, the New Jersey instrumental alt-rock outfit, present the single “Letting Go”, off their new album “The Pendulum Swings”, their first full-length album in 25 years! “Letting Go” is a perfect example of what Deardarkhead are all about – a smart, emotional, evocative and honest fusion of alt-rock, shoegaze, dream pop and post-rock! The song begins with its steady drums and luminous, nostalgic guitars, which play the leading role in this guitar-oriented composition. It is like a travel companion while you are driving down the highway, like background music while you are working at home, like the soundtrack to a beautiful, adventurous life! Deardarkhead know how to take you on a distant, mysterious, misty ride, whether in the city or in the countryside. I personally didn’t know what to expect when I read the press info about this single, but when I pressed play, I understood why this song is described as an immersive experience – a song that you live, not just hear! The production is very clear and expressive, helping the musicians tell their story through beautiful notes. Don’t expect something progressive or avant-garde, although their mindset is certainly sophisticated. Deardarkhead have crafted a delicate song that speaks to both the mind and the heart. There is no way you will get bored with their musical story. If “The Pendulum Swings” is anything like this first single, then we are dealing with truly enchanting music, full of grace and richness! I liked it! 8/10

https://mythofrock.gr/deardarkhead-letting-go-2026-single-fertile-crescent/

REVIEW: Letting Go, Real Gone Rocks

June 11, 2026 | Real Gone Rocks

Blending alternative rock and dream pop, Deardarkhead whip up a superb sound on ‘Letting Go’. Building from a solid bassline, the number takes a mid tempo groove and layers that with a soaring guitar that shares a very lyrical sounding melody. The lead guitar tone is beautiful, bringing a pinch of very commercial goth to an already great sound. The music here is so strong that a vocal really isn’t missed, despite Deardarkhead sharing something that would typically find space for a spacey, studio treated voice to bring an extra layer of atmosphere. In and out in a little over three minutes, this single relies on absolutely no padding, and as the last notes fade, you might feel a definite urge to hit the repeat button… An absolutely stunning track.

https://www.realgonerocks.com/2026/06/the-real-gone-singles-bar-160/

REVIEW: In Another Life, Sound Read Six

June 10, 2026 | Rowan Blair Colver

Deardarkhead Offer Pure Musicality With Their Dazzling In Another Life

They’re working up a storm for their latest album, The Pendulum Swings. New Jersey-based Deardarkhead have been quiet over the past couple of decades, it’stheir first full-length release in 26 years, with In Another Life as the second single from the future album. It follows from their highly acclaimed Letting Go, which recently broke the ice after all this time. Their name comes from a traditional poem called Cean Dubh Dilis by Irishman Samuel Ferguson.They’ve also shared stages and studios with serious modern talent, feelingright at home alongside people like Deborah Harry, Supergrass, Everclear, andThe Psychedelic Furs. Their alt-rock sound is made more intriguing with the use of top-drawer melodic guitar and malleable atmosphere. As the clock strikes music and the chimes echo into memory, this is In Another Life.  
 
A tone rich electric guitar begins to roar like an engine with an excess of valves. The fuel-hungry motor continues as the bass throws down the rhythmic section in rivers of reverberant atmosphere. The lead guitar then leaps into action, piercing the cloud layer with rockets of melody and emotive deliverance. A prog rock meltdown then carries the music down into a kind of rabbit hole, rhythm shifts in tune and the drums carry the weight on their shoulders. A spiralling mix of post-rock greets the gothic undercarriage that lifts off the ground in sweeping bars of adventure.

https://www.soundreadsix.com/home/deardarkhead-offer-pure-musicality-with-their-dazzling-in-another-life

REVIEW: In Another Life, Exhimusic

June 8, 2026 | Exhimusic - Journeys Through Music

Deardarkhead shares “In Another Life”, marking a stunning return after 26 years in the shadows.

After more than two decades between full-length albums, New Jersey’s Deardarkhead return with “In Another Life,” a stirring instrumental shoegaze journey that proves some bands don’t simply survive the passage of time—they deepen because of it.

Serving as the second preview from the forthcoming album The Pendulum Swings, the track finds Deardarkhead refining the atmospheric sound they’ve spent decades cultivating. Without relying on vocals, the trio crafts a narrative entirely through texture, dynamics, and emotional resonance, creating a piece that feels both intensely personal and universally relatable.

“In Another Life” opens with crystalline guitar arpeggios that immediately evoke the dreamlike qualities of classic shoegaze and post-punk pioneers. As the arrangement unfolds, shimmering melodies collide with walls of fuzz-drenched tremolo, while a melodic bass foundation anchors the song’s drifting emotional currents. The result is a lush, cinematic soundscape that recalls influences such as Ride, Slowdive, Lush, and Kitchens of Distinction, while maintaining a distinct identity forged through years of evolution.

What makes the track particularly compelling is its sense of movement. Rather than settling into a single mood, the song gradually builds and recedes like memory itself, mirroring drummer Robert Weiss’s thematic inspiration: the lingering fascination with paths not taken. The composition captures that bittersweet tension between reflection and acceptance, suggesting alternate futures without becoming trapped by them.

Kevin Harrington’s guitar work is especially noteworthy, weaving soaring lead lines through layers of atmospheric effects with remarkable restraint. The band’s chemistry shines throughout, balancing expansive shoegaze textures with the rhythmic drive and melodic precision more commonly associated with classic post-punk. Hints of The Cure, The Chameleons, Echo & the Bunnymen, and Cocteau Twins emerge organically within the arrangement, yet never feel derivative.

The production team of Brian McTear and Amy Morrissey brings impressive clarity to the dense instrumentation. Every layer occupies its own space, allowing the song’s intricate details to emerge with repeated listens. The mastering by Joe Lambert further enhances the track’s expansive character, giving it both warmth and breadth without sacrificing impact.

Perhaps the greatest achievement of “In Another Life” is its ability to communicate so much without a single lyric. Deardarkhead have embraced their instrumental identity completely, allowing melody and atmosphere to carry emotional weight where words might otherwise reside. A captivating instrumental meditation on possibility, memory, and acceptance, the song showcases Deardarkhead at their most immersive and emotionally resonant, inviting listeners to project their own experiences and interpretations onto its sweeping sonic landscape.

As a preview of The Pendulum Swings, “In Another Life” suggests that Deardarkhead’s first album in 26 years will be more than a nostalgic return. Instead, it feels like the work of a band that has spent decades refining its voice, emerging with renewed purpose and creative confidence. Rich in atmosphere, emotionally evocative, and beautifully crafted, “In Another Life” stands as a compelling statement from a band whose creative momentum shows no signs of slowing.

As of June 9, ‘In Another Life’ is available from music platforms, including Spotify, Apple Music and Bandcamp. Now available for pre-order, ‘The Pendulum Swings’ album will be released on CD, digitally, and on 180-gram vinyl on July 10.

https://www.exhimusic.com/magazine/2026/06/08/deardarkhead-shares-in-another-life-marking-a-stunning-return-after-26-years-in-the-shadows/

REVIEW: Letting Go, WoNoMagazine

June 7, 2026 | Wout de Natris

An instrumental track somehow is the hardest to write about for me. Not that I analyse lyrics a lot, it is the layer of how vocal melodies interact with the music, where I often focus my attention on. Deardarkhead is a band from New Jersey, formed in 1988, that in 1998 released its only full length album to date, 'Unlock the Valves of Feeling'. Since several EPs saw the light of day, the last one being from 2016. Since its singer left, the band has become an instrumental outfit and listening to Letting Go focusing on extremely melodic instrumental tracks. Guitarist Kevin Harrington leads the pack with a very clear sound, while never overdoing the number of notes he can squeeze in. This is about melody and not about chops and prowess. He is supported by drummer Robert Weiss and bassist James Malizia, The mortar in between is played by guest keyboardist Joe McGinty (The Psychedelic Furs, Nada Surf, Ryan Adams and Deborah Harry), who adds just the right texture. It is this combination of musical facts that make me like Letting Go. There will be a full length album, Deardarkhead's second, on 10 July called 'The Pendulum Swings'.

https://wonomagazine.blogspot.com/2026/06/2026-week-23-10-singles-2.html

"In Another Life" Streaming 6.9.26

The next single “In Another Life”, from our upcoming album The Pendulum Swings, will be streaming on all major services 6.9.26!

“‘In Another Life’, is about the choices you didn’t make which still haunt you to some degree. The what ifs we all think about, but ultimately have no real impact. There’s no way of knowing where a different path would have lead, so you can’t be too bothered about it. One must live in the present.” Rob Weiss

REVIEW: Letting Go, Skylight Webzine

May 23, 2026 | Billy Yfantis

Kevin Harrington claims that “Letting Go” is “a song about growth…change…letting go of old ways,” with a focus on accepting a new path with confidence and clarity. Keyboardist Joe McGinty, who is well-known for his work with The Psychedelic Furs, Nada Surf, Ryan Adams, and Deborah Harry, joins Deardarkhead to further enhance the song. The production crew, which was recorded at Miner Street Recordings in Philadelphia, also comprises mastering engineer Joe Lambert, Brian McTear, and Amy Morrissey. Their combined experience adds more detail to the release’s sound. The song begins with vibrant drumming and beautiful, Shoegaze-inspired guitar sounds that immediately bring out a nostalgic atmosphere characteristic of bands like Lush, Slowdive, and the Stone Roses. From the beginning, the composition balances dreamy warmth with a steady rhythm, resulting in a sound that is upbeat. “Letting Go” is an instrumental work that communicates its message purely through melodic expression and mood. The guitars take on the major narrative style of the piece, expanding through dynamic phrasing and layered sounds that create an exploratory and open atmosphere. Rather than remaining static, the arrangement is constantly evolving with small modifications and changing musical patterns. Technically, the performance is very detailed, featuring numerous changeovers and interconnected instrumental components that call for careful attention. These changing patterns correspond to Harrington’s topic of inner development, reinforcing the concept of movement, advancement, and emotional freedom through sound only. Finally, “Letting Go” works as both a nostalgic shoegaze-influenced instrumental and a personal statement about change and rebirth. Its lush guitar work, fluid arrangement, and powerful atmosphere allow for an engaging listening experience that inspires self-analysis and gentle optimism.

https://skylight.gr/index.php/2026/05/23/deardarkhead-letting-go/

REVIEW: Letting Go, The RingMaster Review

May 22, 2026 | Pete RingMaster

Entangled in the Shameless: Part 1 Fascination

With their new album, The Pendulum Swings, waiting in the wings, New Jersey alt rock outfit DEARDARKHEAD have laid down a potent invitation with the track Letting Go. It is the recently released lead single from the FERTILE CRESCENT RECORDS brought full-length, its own unveiling set for July 10th, and a moment of instrumental enterprise that swiftly had ears and the imagination on board.

DEARDARKHEAD consists of guitarist Kevin Harrington, drummer Robert Weiss and bassist James Malizia, a line-up in place from in August 2024, though the upcoming album features previous bassist Brandon Howard. After the departure of its vocalist/bassist Michael Amper in 2009, DEARDARKHEAD became instrumental prominent and grown into crafting tracks that are rich in suggestive storytelling as Letting Go proves. The decades since emerging in 1988, has seen the band share stages with the likes of SUPERGRASS, THE LILYS, EVERCLEAR, NOTHING, and THE PSYCHEDELIC FURS among many, and their new track sees keyboardist Joe McGinty, renowned for his time in the latter band guesting.

Letting Go calmly moves in but quickly spins a web of guitar incitement around rhythmic fertility. It is not so much a trap but an invitation of sound that grows as the band aligns individual enterprise for its contemplation of growth and the strength in embracing change.

As all the best instrumentals, it is a track that presents its own contemplation but leaves plenty of its suggestive canvas free for the listener’s imagination to interpret and cast their own relatable premise while involving them in the allure of spicy grooves and intimate melodies. Letting Go is a richly enjoyable invitation into that upcoming DEARDARKHEAD album too, and we cannot imagine being alone in keenly waiting for that.

https://ringmasterreviewintroduces.wordpress.com/2026/05/22/entangled-in-the-shameless-part-1-fascination/

SHOW: 7/16/26 Anchor Rock Club, Atlantic City, NJ

Record Release Show!

DDH will be at the Anchor Rock Club at 247 South New York Ave., Atlantic City, NJ on Thursday, July 16th with our friends The Falling Out, Bitter Bitter Weeks and DJ Bob Portella.

We will be celebrating the release of our new album The Pendulum Swings (releasing on 7/10) and will have cd/vinyl copies available at the show. It’s also Rob’s birthday so it should be a fun night!

Doors at 7 PM. Show at 7:30 PM.
Tickets can be purchased here.
18 and over.

Be seeing you,
deardarkhead