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/

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/

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/

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: 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

Article: Rock-n-Roll.biz

May 6, 2026 | Northern Wanderer

Deardarkhead Ushers in Bold New Era, Unveiling “Letting Go” Single

New Jersey alternative rock band Deardarkhead return with “Letting Go,” a powerful new single that introduces their forthcoming album The Pendulum Swings. Built as an instrumental anthem, the track is driven by soaring guitar leads and melodic bass hooks, reflecting themes of growth, transformation, and the courage to move beyond old patterns into new directions.

“Letting Go” unfolds like a finely aged wine finally uncorked—rich, layered, and carrying decades of craft in every note, revealing new depths with each listen. It’s an elegant but powerful statement, where Deardarkhead distill experience into something both refined and intoxicating, setting a high bar for The Pendulum Swings.

At the heart of “Letting Go” is a sense of evolution, both musically and personally. Guitarist Kevin Harrington describes it as “a song about growth… about change… letting go of old ways… taking a new direction and knowing that it’s going to be right.” Drummer Robert Weiss adds that the piece began as a piano composition by Harrington before expanding into a full-bodied arrangement. The track is further enriched by keyboardist Joe McGinty—known for his work with The Psychedelic Furs, Nada Surf, Ryan Adams, and Deborah Harry—whose contributions add depth, atmosphere, and texture.

Deardarkhead’s current lineup features Kevin Harrington on guitar, Robert Weiss on drums, and James Malizia on bass. Malizia joined the band in August 2024, taking over from Brandon Howard, who had participated in recording the album. This iteration of the group continues a long-standing evolution that began after the departure of vocalist-bassist Michael Amper in 2009. Since then, Deardarkhead have fully embraced instrumental composition, allowing melody, tone, and texture to replace traditional vocals.

Emerging from the Atlantic City, New Jersey scene in 1988, the group took its name from Samuel Ferguson’s 19th-century Irish poem “Cean Dubh Dilis,” inspired by a striking dark-haired figure, a reference that reflects their long-standing focus on atmosphere and emotional tone as much as musical direction. They blend dreamy pop, shoegaze, and ethereal guitar textures. Across almost forty years, they have established themselves as a distinctive force in alternative music, sharing stages with artists including Supergrass, The Psychedelic Furs, Everclear, Nothing, and The Lilys, and earning a reputation for deeply immersive, emotionally charged live performances.

he Pendulum Swings album marks the band’s sixth recording and second full-length album, capturing a period of renewed experimentation and refinement. Produced, engineered, and mixed by Brian McTear and Amy Morrissey—whose credits include The War on Drugs, Kurt Vile, Sharon Van Etten, and The Dead Milkmen—the album was recorded at Miner Street Recordings in Philadelphia. Mastering duties were handled by Grammy-nominated engineer Joe Lambert, known for his work with Animal Collective, Blonde Redhead, Beach House, M83, Wild Nothing, and Thievery Corporation.

Spanning ten instrumental tracks, the album explores a wide emotional and sonic range. From expansive, psychedelic-leaning guitar anthems to driving post-punk rhythms and more abstract ambient passages, the record forms a cohesive yet dynamic whole. Deardarkhead continue to push their instrumental approach forward, incorporating elements such as drum loops, unconventional time signatures, ebow techniques, bass VI, and layered guitar arrangements.

Throughout their career, the band has maintained a strong independent spirit. They have released five recordings on their own Fertile Crescent Records, with additional appearances on numerous indie compilations in the United States and Japan. In 2011, Captured Tracks issued Oceanside: 1991–1993, a retrospective of their early material as part of the Shoegaze Archives series. The band later joined Saint Marie Records in 2015, releasing the critically acclaimed Strange Weather EP in 2016.

“Letting Go” is now available across major platforms.. Meanwhile, The Pendulum Swings is open for pre-order (out July 10 in multiple formats, including CD, digital, and 180-gram vinyl).

CREDITS
Kevin Harrington – guitars (all tracks) and bass VI, ebow & bass (track 10)
Robert Weiss – drums & percussion
Brandon Howard – bass (tracks 1-9)  
Joe McGinty – keyboards (track 6)  
Recorded at Miner Street Recordings, Philadelphia, PA  
Produced, engineered & mixed by Brian McTear & Amy Morrissey
Mastered by Joe Lambert  
Cover photography & design by Robert Weiss
Video directed and edited by William Murray
Band photos by Mike Maney
Publicity by Shameless Promotion PR

https://rock-n-roll.biz/from-atmosphere-to-anthem-deardarkhead-unveils-letting-go-and-a-bold-new-era/