REVIEW: The Pendulum Swings, Take Effect

October 10, 2026 | Tom Haugen

9/10

The New Jersey rockers Deardarkhead return with their first album since 1998, where Kevin Harrington and Robert Weiss recruit a couple guests for the hazy 10 tracks.

“Flamethrower” opens with Weiss’ crisp drums and Brandon Howard’s mesmerizing bass before Harrington’s radiant guitar enters the flowing post-punk climate, and “Coming Undone” follows with the throbbing rhythm section complementing the swirling guitar dynamics.

In the middle, “Tears” is a gentle moment of dreamy qualities that are harmonic and heartfelt, while “Letting Go” recruits Joe Mcginty’s inimitable keys for the shoegaze influenced album highlight,.

“In Another Life” and the title track exit the listen. The former weaves in and out of pretty textures amid a hint of rugged, alt-rock nods, and the latter embraces dream-pop sensibilities via the meticulous interaction and bright layering.

A highly atmospheric comeback effort, Deardarkhead steer into experimentation and refinement, where growth and change are part of their dream-gaze formula that sounds great alongside Ride, Cocteau Twins, The Chameleons or Psychedelic Furs.

Travels well with: Black Rose Burning- The Fear Machine; Push Puppets- Tethered Together

https://takeeffectreviews.com/october-2026-1/2026/10/10/deardarkhead

REVIEW: The Pendulum Swings, Rockerilla

October, 2026 | Roberto Mandolini

Deardarkhead's debut cassette, Greetings From The Infernal Village (1988), is among the most sought-after items among shoegaze collectors. Their ten-year-old album, Unlock The Valves Of Feeling (1998), is becoming equally rare. A similar fate will likely befall their recent album The Pendulum Swings, released like their previous works on their own label, Fertile Crescent. The album contains ten instrumental tracks that alternate psychedelic accelerations (Tomorrowland) with stratospheric ballads (Tears). It was recorded by the duo of Kevin Harrington (guitars, bass) and Robert Weiss (drums), with assistance from Brandon Howard and Joe McGinty on a couple of tracks.

UNEXPECTED RETURN.

https://www.rockerilla.com

ARTICLE: In Another Life, New Jersey Stage

September 25, 2026 | Bob Makin

Makin Waves Song of the Week: "In Another Life" by Deardarkhead

The Makin Waves Song of the Week is “In Another Life” from “The Pendulum Swings,” the first album in 26 years from the Atlantic City rockers Deardarkhead. PHOTO BY MIKE MANEY 

“The Pendulum Swings” marks a remarkable return for Atlantic City rockers Deardarkhead, whose previous album arrived more than two decades ago.

Featuring an amazing video by Italian filmmaker Francesca Bonci (The Dandy Warhols), the Makin Waves Song of the Week is the album’s second single, “In Another Life.”

As the Makin Waves Song of the Week, “In Another Life” also can be heard between 6 and 8 p.m. on Sept. 25 on “Radio Jersey” at ThePenguinRocks.com. If you miss it, you can tune in any time in the archives at The Penguin, Mixcloud and RadioJersey.

Built around soaring guitar leads and melodic bass hooks, “In Another Life” balances tension between crystalline guitar arpeggios, fuzzed out tremolo, and melodic baselines. Drummer Robert Weiss also was inspired by sitar music for the rhythmic droning lead sections.

Visionary videographer Francesca Bonci also is known for her work with Slowdive’s Rachel Goswell, as well as Federale, aka Brian Jonestown Massacre’s Collin Hegna.

Fans of Ride, Lush, Kitchens of Distinction, The Veldt, Pale Saints, and Ringo Deathstarr also will enjoy “The Pendulum Swings.”

Produced, engineered and mixed by Brian McTear and Amy Morrissey (The War on Drugs, Kurt Vile, Sharon Van Etten) at Miner Street Recordings, Philadelphia, and mastered by Grammy nominee Joe Lambert, the album is a collection of both older and newer material, all of which is a source of great pride for the band, Robert said.

“Each song has its own distinct vibe, but they collectively make up the DDH sound,” he said. “This was the second time we recorded at Miner Street Recordings and we focused on trying new things with drum loops, different time signatures, backing keyboard tracks, using an ebow and bass VI, plus more guitar tracks than ever.”

Also featuring guitarist Kevin Harrington and bassist Brandon Howard, DDH recruited keyboardist Joe McGinty (The Psychedelic Furs, Nada Surf) to play on the album’s first single, “Letting Go.”

The record moves through shifting moods ranging from soaring, psychedelic-tinged guitar anthems to driving post-punk rhythms and more ambient, abstract passages. The result is a dynamic and cohesive work that highlights the band’s signature blend of shimmering guitars, pulsing bass, and powerful percussion. The band pushes the envelope with their instrumental approach, using drum loops, unusual time signatures, ebow, bass VI, and expanded guitar layering.

Taking their name from the 1867 Irish poem “Cean Dubh Dilis” by Samuel Ferguson — a work about a beautiful dark-haired girl —  Deardarkhead formed in Atlantic City in 1988, the same year Makin Waves was launched. The band’s identity is rooted as much in mood as in melody. Their music blends atmospheric dreampop, shoegaze shimmer and ethereal rock, unfolding as an original, guitar-driven psychedelic tightrope walk balancing moody textures and shimmering melodies.

https://www.newjerseystage.com/articles3/2026/09/25/makin-waves-song-of-the-week-in-another-life-by-deardarkhead/

REVIEW: The Pendulum Swings, Real Gone Rocks

September 21, 2026 | Real Gone Rocks

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. A key track on an instrumental album, 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 number relies on absolutely no padding, and as the last notes fade, you might feel a definite urge to hit the repeat button… This is an absolutely stunning track, and it turned out to be perfect way to advertise ‘The Pendulum Swings’ via a pre-release since, although the rest of the album is quite varied, it often resembles this track in a way that really doesn’t disappoint.

The band’s first new long player for a quarter of a century taps into a world of really smart post punk and goth influences, delivering ten brilliantly formed tracks that share Deardarkhead’s instrumental prowess with ease. The decision to drop the vocals this time out is a smart move; the extra space allows for the guitars to take centre stage more often, showcasing some superb playing from Kevin Harrington, allowing his atmospheric approach to weave against some rather muscular bass work from Brandon Howard. There are elements of the opening number ‘Flamethrower’ that tap into the band’s older shoegaze sound, but in the main, it presents the sound of musicians occupying a new space, with Kevin dropping in occasionally heavier riffs, sharing a rockier edge, which works brilliantly when set against a baggy-ish influence from the drums. More so than ever, this shows how well the band can set up a groove; far less reliant on atmospheres than some of the band’s prior works, this is a punchy opener that really grabs the attention. Bringing in a huge goth influence for the main riff, drawing from the 80s and ‘Dreamtime’ era Cult especially, ‘Coming Undone’ opts for something equally tough, yet pulling a little further in a familiar direction. Kevin’s lead guitar work is especially strong here, allowing a slightly echoing and filtered tone to add a shimmering edge to a rocky sound, while the rhythm section locks into another unshakeable groove. If you’re invested in the new Deardarkhead sound by the end of this track, you’ll certainly find musical interest through the rest of the material.

Taking a lighter approach and leaning a little more upon their previous indie sound, the tone of the guitars that sit at the centre of ‘Tears’ feels a bit more nostalgic, but Brandon’s harder bass sound ensures that this is far more than an easy recycling job. A rockier “chorus” allows Kevin to cut loose, again, showcasing the driving force behind a band who instinctively know their way around some great riffs, but the real star on this track is drummer Robert Weiss. He pushes everything forward with a tight performance that owes so much more to the band’s shoegaze past. Eventually the rockier riffs take centre stage, filling the latter part of this superb workout with some great sounds. Tapping into a mix of heavy indie, taut post rock and a pinch of goth, this is a genuine album highlight, capturing the “new” Deardarkhead in full flow. Then, hinting at a great contrast, the bouncy ‘Sad Songs (And Better Days)’ manages to couple a dream pop rhythm guitar with a Peter Hook inspired bassline, steering everything towards a tough indie sound that the band appear to take in their stride. There are moments where it feels impossible to tear your ears away from the brilliant bass riff, but Kevin plays up a storm here via the guitar, sounding especially confident when reaching for a post punk riff that’s delivered at volume. This actually couldn’t be more different from some of Deardarkhead’s past works if it tried, but it’s certainly none the worse for that – it’s a thrill to hear the band really branching out in terms of riffs.

During ‘In Another Life’, Deardarkhead 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 album standout ‘Letting Go’, a brighter, ringing guitar tone compliments 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. In terms of setting an atmosphere in place, this feels effortless, and even if it sounds a little more like something you’ve heard from the band previously, it’s anything but stale. Elsewhere on a filler free disc, you’ll encounter some busier drumming at the heart of ‘Black Pearls’ which sits surprisingly comfortably against a world of purer shoegaze influences that call back to Deardarkhead’s past, and a title cut that presents another prominent bassline cutting through a wall of shimmering guitar tones, leaning into a more familiar sound and influences from the turn of the decade circa 1990. Any familiarity seems to fuel this band’s creative streak, however, resulting in something that, although would benefit from being a touch more dream pop-esque, captures the musicians in good form, and for fans of Kevin’s guitar sound might even sound better over time.

A lot can change in twenty five years, even the outlook of a veteran act from the alternative set. Deardarkhead could’ve staged a long overdue comeback with something that mirrored the shoegaze-y swirls of their ‘Oceanside’ collection, but, as it transpires, the band’s decision to cast aside a previous sound in favour of something a little more direct has paid dividends. The music here is terrific; the moody arrangements work some wonderfully retro sounds that, hopefully, should greet the ears of maturer fans more than favourably, while still capturing a sound and energy that never feels tired if heard by the first time listener. A recommended disc.

https://www.realgonerocks.com/2026/09/deardarkhead-the-pendulum-swings/

REVIEW: The Pendulum Swings, Whisperin’ and Hollerin’

September 11, 2026 | Simon Phillips

The Pendulum Swings is the first new album from Deardarkhead in 10 years, since the bands last album Strange Weather, the Press release claims it is 25 years since they put an album out, but I have my review copy of Strange Weather here and that press release makes clear it was all new music. They originally formed in 1988 in Atlantic City, when the bands singer left them in 2009 they decided to continue as an instrumental indie act. They went back to record the album at Miner Street recordings in Philadelphia where they produced Strange Weather. This album was produced, mixed and engineered by Brian McTear and Amy Morrisey and mastered by Joe McTear. Deardarkhead are Kevin Harrington, Robert Weiss, Brandon Howard and special guest Joe McGinty.

The album opens with Flamethrower that starts quite sparsely and then explodes like the flames are literally shooting out of the speakers and this intense instrumental keeps that bands post punk sound. Coming Undone is a feeling many of us have in the 2020's more like the world's Coming Undone and searing guitar lines and precision drumming are the right soundtrack for our current travails.

Tomorrowland is a rather more hopeful sounding tune, a bit Psychedelic Furs meets Love Tractor sounding like it would work on the dancefloor of a good alternative club. Tears is a touch slower and more reflective, built around a guitar figure that trickles down, like tears slowly falling from your eyes. In places this soars like you are finally feeling better, before it goes downhill again.

Sad Songs (And Better Days) has some cool jangling guitars and percussion that shines through the sadness of our times. The guitars build in intensity and fly off in places like they are raging with anger at what they see.

Letting Go feels like they have turned a New Order electronic tune into an instrumental guitar romp, making it work damn well, through all the rising and falling peaks and troughs this seems to signal. A Thanksgiving has crystalline guitars and almost marching band drumming evoking feelings of A Thanksgiving celebration of some sort.

Black Pearls seems to be suitably beautiful, riding the waves in search of a locker or two, the drums seem to mark the times of the watches, guitars exploring the depths. In Another Life this would be the backdrop to the discovery of something amazing at the end of a film, with the main characters slowly walking off screen into the distance.

The album closes with The Pendulum Swings that thankfully doesn't remind me of the band Pendulum, this is slow building, like much of Strange Weather it reminds me of Atlases, in how it evokes a whole vista of imagery quite effortlessly.

Our Rating: 7/10

http://www.whisperinandhollerin.com/reviews/review.asp?id=26114

REVIEW: In Another Life, WoNoMagazine

September 2, 2026 | Wout de Natris

Another instrumental track from the reformed Deardarkhead. While the bass and drums provide the guitar layers with the basis to start their work from, the song develops in interesting ways. From parts that are just rhythm, the composition develops into a part where guitars hurtle over each other in a very playful way. It's hard to write on an instrumental track, I already wrote that on Deardarkhead's single 'Letting Go' before the summer break, and that hasn't changed. It is worth your while to listen to In Another Life, as it has a pleasant lead melody. A lot better than the Bill Wyman credited song with the same title on 'Their Majesty's Satanic Request'. The album 'The Pendulum Swings' is out since July.

https://wonomagazine.blogspot.com/2026/09/2026-week-36-5-singles.html

REVIEW: In Another Life video, The RingMaster Review

August 18, 2026 | Pete RingMaster

Shameless Attractions: A Second Flush

The striking visual craft of Francesca Bonci (Collin Hegna, The Dandy Warhols, Pete International Airport, Rachel Goswell, Tombstones In Their Eyes) also graces and gives another aspect to the new single from alternative rock trio DEARDARKHEAD. Taken from their increasingly acclaimed new album The Pendulum Swings, with our high praise among that vocal crowd, In Another Life is an instrumental track that offers up rich melodic suggestiveness but equally creates a palette for the imagination to weave its own interpretation.

As the album, the single is released through the New Jersey band’s own imprint Fertile Crescent Records, and presents a canvas of rock flavours and styles while continually bring new twists to its suggestion proposal. From the greed fuelling rhythmic predation of the track to the melodic steeliness of its guitars, In Another Life is a fertile playground for thought and involvement but equally it is just simply a piece of music to dance away to.

As we said, the latest album, from DEARDARKHEAD is the centre of high praise with the scintillating In Another Life providing so many reasons as to why.

https://ringmasterreviewintroduces.wordpress.com/2026/08/18/shameless-attractions-a-second-flush/

ARTICLE: Song of the Week, MusicLoveMusic

August 17, 2026 | MusicLoveMusic

Once In A Lifetime – Deardarkhead Deliver Guitar-Driven Psychedelia on New Release

OUT of Atlantic City, NJ, and formed in 1988 alt rock trio DEARDARKHEAD unveil new video from recent album The Pendulum Swings – focus track ‘In Another Life.’

The first album in a quarter of a century, The Pendulum Swings is released via the band’s own Fertile Crescent Records, recorded at Philadelphia’s Miner Street Recordings, produced, engineered and mixed by Brian McTear and Amy Morrissey, and mastered by Grammy-nominated engineer Joe Lambert.

“‘The Pendulum Swings’ is a collection of both older and newer material that we are very proud of,” said drummer Robert Weiss. “Each song has its own distinct vibe, but they collectively make up the Deardarkhead sound. This was the second time we recorded at Miner Street Recordings, and we focused on trying new things with drum loops, different time signatures, backing keyboard tracks, using an ebow and bass VI, plus more guitar tracks than ever.”

Joining Weiss in the lineup are guitarist Kevin Harrington and bassist James Malizia who replaced Brandon Howard following the recording of the album.

https://musiclovemusic.com/once-in-a-lifetime-deardarkhead-deliver-guitar-driven-psychedelia-on-new-release/

REVIEW: In Another Life, Outside Left

August, 2026 | Max Swirl

When they lost their singer back in 2009, Deardarkhead just thought 'what the hell, we'll just go instrumental'. That means a lot of clever musical twiddlyness of course. In my experience, singers always think the rest of the band are their backing band and the rest of the band think the singer is only the singer because they can't play anything. So when they bin the singer, the temptation is to prove to the world that the music stands up on its own without the vocals. Sadly, that's all bollocks and you do need the vocals, otherwise you get this, their first new stuff for 25 years and very competent, a bit twiddly, notes of the Cure and New Order in here somewhere, but at the end of the day, instantly forgettable. Better start hitting those FB Groups and find yourself a lead squawker, chaps!

https://outsideleft.com/main.php?story=outsideleft-week-in-music-playing-the-spoons

INTERVIEW: Charting the Higher Octave with DJ Nocturna

https://www.youtube.com/@DJNocturna

REVIEW: The Pendulum Swings, Skylight Webzine

August 5, 2026 | Billy Yfantis

After a 25-year break from full-length albums, New Jersey alternative rock duo Deardarkhead returns with The Pendulum Swings, an album that is both classic. The record, which was recorded at Miner Street Recordings in Philadelphia and produced, engineered, and mixed by Brian McTear and Amy Morrissey, with mastering by Grammy-nominated engineer Joe Lambert, reveals a band that has embraced experimentation while remaining true to its atmospheric alternative rock roots. Drum loops, unique time signatures, new keyboard sounds, ebow, Bass VI, and extended guitar layering all contribute to the album’s immersive sound. The album’s opening track, “Flamethrower,” establishes its character with distinct bass tempos that slowly develop into a powerful grunge-inspired arrangement. Beneath the strong guitars, slight shoegaze sounds offer dimension and mood, keeping the song from being a straight-up rock hit. The first track’s combination of raw energy and spaced out sound creates a strong feeling of movement. “Coming Undone” takes the mood to a darker place, embracing post-punk aesthetics and melancholy guitar lines that create an almost creepy atmosphere. Gothic influences are naturally integrated into the arrangement, resulting in a cinematic composition that prioritises melody and mood over pure aggression. The production gives each layer room to flow, making the song artistically expansive. One of the album’s highlight moments is “Tears,” which begins with lush, ambient sounds and carefully processed guitars that recall The Cure’s surreal aspects. As the piece progresses, post-rock melodies reminiscent of Explosions in the Sky arise via expansive guitar work and careful dynamic buildup. Rather of depending on traditional verse-chorus forms, the song unfolds naturally, resulting in a touching journey in which atmosphere becomes the primary instrument. The album’s final track, “The Pendulum Swings,” combines shoegaze and darkwave influences to create a fascinating crescendo. Sweet, melodic guitar lines flow over the stereo field, while layers of effects create a hypnotic, dreamy mood. The expansive production and precisely constructed sounds leave the listener with a constant experience of inner reflection, perfectly capturing the album’s musical character. Throughout the album, Deardarkhead shows an exceptional command of texture, dynamics, and guitar-based songwriting. Instead of depending on technical performance, the band focuses on building emotional landscapes in which each note contributes to the atmosphere. The production quality is superb, with each instrument taking up its own space while still adding to a harmonic and full sound.

https://skylight.gr/index.php/2026/08/05/deardarkhead-the-pendulum-swings/

INTERVIEW: My Music with Graham Coath

For nearly four decades, Deardarkhead have quietly built a reputation as one of New Jersey's most distinctive underground alternative rock bands. Now, after a 25-year gap between full-length albums, they're back with The Pendulum Swings – a record that proves creativity doesn't have an expiry date.

On this episode of MyMusic, Graham Coath sits down with drummer Robert Weiss to explore the band's remarkable journey from their beginnings in Atlantic City in 1988 to creating an album that blends shoegaze, post-punk, psychedelia and cinematic instrumental storytelling.

The conversation goes far beyond the new record. Robert explains why the band embraced becoming an instrumental act, how they create songs without relying on lyrics, and why emotion has become the band's true lead vocalist. They discuss the challenges of making music over nearly four decades, the influence of producers Brian McTear and Amy Morrissey, experimenting with drum loops and unusual time signatures, and why The Pendulum Swings feels like the perfect statement of everything DEARDARKHEAD have experienced together.

There's also a fascinating discussion about the lost art of listening to albums from start to finish, the changing music scene, working in record stores, favourite drummers, Stewart Copeland, shoegaze influences, and why sometimes the greatest success is simply making the next record.

If you enjoy thoughtful conversations about creativity, longevity and music made with purpose, this is an episode you'll want to spend time with.

Listen to The Pendulum Swings and discover why critics are calling it a stunning return for one of New Jersey's most enduring underground bands.

https://mymusicpodcast.com/home

ARTICLE: Deardarkhead, Duck Amuck in Japan

August 4, 2026 | Evan Bourgault

Shameless Tuesdays | Livre 185: Deardarkhead

Deardarkhead hit the road with a fury of a soundtrack called “The Pendulum Swings”. but also drops their DNA into this week’s Shameless Tuesdays!

For nearly 40 years, Deardarkhead has revved up a shoegazing post-punk sound with a trademark New Jersey gnarly attitude. Their latest album, The Pendulum Swings, is the exact soundtrack needed for a Hell’s Angels gang to roll down a haunting desert road, engines roaring like thunder and wheels burning on the brink of catching fire. All it needs is a pack of smokes paired with a skull & bones lighter, and the ultimate journey can commence. But before the axe can make its descent, Deardarkhead have summoned for us this week’s Shameless Tuesdays!

Here’s what Deardarkhead have to say about this week’s playlist:

“Hello, this is Rob Weiss from Deardarkhead. We are an American shoegaze, dreampop, post-punk band, that I started in 1988 and are based in the Atlantic City, New Jersey area. We are currently an all instrumental three piece and consist of: Kevin Harrington on guitar, James Malizia on bass guitar, and myself on drums. In the past we had a vocalist, but after his departure we decided to explore what we could do musically without words. We like to make atmospheric music which is melodic, dreamy and often loud, driving or psychedelic. The band takes its name from an Irish poem, “Cean Dubh Dilis” (1867 Sir Samuel Ferguson), about a beautiful girl with black hair. 
 
We recently released a 10 song album called ‘The Pendulum Swings’, which we would love for you to hear. You can check it out on all major streaming platforms and can be purchased at: https://deardarkhead.bandcamp.com/ Without a vocalist, the guitar becomes the main melody instrument, so we spend a lot of time trying to find new ways to make the songs interesting, yet still accessible. This was a huge focus for the album and we’d like to think we pulled it off! There is something incredibly pure about creating emotion without the use of lyrics to tell the listener how they should feel.
 
Every band on this playlist was either a direct influence when Deardarkhead started out or shaped our sound in the early years as we were evolving. All these songs have their own unique sound, but they create an atmosphere that takes you somewhere else. This is something we’ve always aspired to. While I don’t think we sound exactly like any one of these bands, they are a huge part of our musical DNA and inspiration for starting a band all these years ago. We hope you will enjoy it!”

https://duckjapan.com/2026/08/04/shameless-tuesdays-185-deardarkhead/

REVIEW: In Another Life, Humans vs. Robots

July 24, 2026 | Max Zarucchi

Dream on, pop?

In 1988, New Jersey (fortunately for some, unfortunately for many others) only had eyes for Mr. Sorriso Durban’s Giovanni Bongiovanni. Yet all was not lost: in Atlantic City, defying the trends of the moment, Deardarkhead was formed, a band that embraced a sound far removed from the tackiness of I'll Be There for You and preferred to immerse themselves in dream pop sounds that often veered into the most visionary shoegaze.

After several years of silence, they return today with their new album, The Pendulum Swings, of which "In Another Life" is the lead single. The stylistic coordinates are the same, amplified by nearly forty years of experience in weaving sonic textures, which make each individual passage of the song perhaps less instinctive than in the past, but absolutely not banal, proving that true talent, when it's there, can only age well like the famously good wine.

In a time when the revival of this stylistic approach is involving both new talent and welcome returns, giving due space to historic bands like Deardarkhead can only make those who still hold bands like Lush, Slowdive, and Pale Saints dear to their hearts happy. It's a confirmation for fans, and a great way for those who haven't heard of them before to rediscover them.

https://hvsr.net/newmusic/2026/settimana-28-2026

REVIEW: The Pendulum Swings, The RingMaster Review

July 24, 2026 | Pete RingMaster

Sweltering with the Shameless: Passional

There is no denying that we have a soft spot for a song or record that offers up its own heart and rich intimation but also provides a canvas for the listener’s imagination to weave its own exploratory adventure. One such encounter is The Pendulum Swings, the new album from New Jersey’s DEARDARKHEAD. Released on their own Fertile Crescent Records, it is their first album in 26 years and a proposal that bursts with instrumental intrigue and enterprise.

Formed in 1988, Deardarkhead evolved their sound into an instrumental journey after the departure of vocalist Michael Amper in 2009. The Pendulum Swings sees guitarist Kevin Harrington and drummer Robert Weiss, with bassist Brandon Howardalongside upon nine of the record’s tracks (though since the album’s recording James Malizia has become their new bassist); weave a sound that aligns the textural instincts of post punk, alt rock, dreamgaze and plenty more in exploratory sonic storytelling.

From the moment that Flamethrower opens up the release, The Pendulum Swings proved a picture book of sonic moods and textural design bound in organic enterprise and melodic suggestiveness. Each track shares an individual creative narrative led by Harrington’s guitar, the presence and mood of songs similarly shaped by his ever evolving subtle and raw energy yet it equally seems to have another voice that suggests and shares the heart and thoughts of each track.

From the imposing rock force of the opener, songs like Coming Undone and Tomorrowland bring their own individual adventure for ears and contemplation. The first of the two relishes a CURE-esque post punk breeding while its successor shows pop rock instincts in its inspiriting hook wired proposal. Both songs epitomise the enthused enterprise and prowess of the band, and their skill at emotionally stirring the pot, with the rhythmic invention and habituation stirring enterprise of Weiss and Howard as involving as Harrington’s guitar.

Evocative moments like Tears and the pop energised Sad Songs (and Better Days) prove just as insightful as the more clamorous trespasses of the rapacious Letting Go and the sonic exotic Black Pearls. To be honest though, every song brings a new and rousing proposal to ears no matter their instinctive hearts with the likes of A Thanksgiving and In Another Life drawing their own especial realms of soulfully atmospheric, progressively cured possibilities.

Closing out with its title track, a song that finds Harrington and Weiss casting the album’s most poignant yet enlivening moment, The Pendulum Swings is pure captivation and drama, a sonic rapture for ears that had thick enjoyment flowing and the imagination building its own adventures.

Favourite albums of the year candidates will be long and extensive come December but there will be no surprise if we see Deardarkhead frequently featured.

https://ringmasterreviewintroduces.wordpress.com/2026/07/24/deardarkhead-the-pendulum-swings/

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

Listen to the recorded interview at:
https://mattconnarton.com/track/4911711/deardarkhead-matt-connarton-unleashed

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/