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/