Dendrons Release Video For Wait In Line; 5-3-8 LP Out On August 26th Via Innovative Leisure


Chicago-based five-piece, Dendrons are today sharing their new single, “Wait in Line” – it’s the latest to be lifted from their forthcoming second album, 5-3-8 which is out via LA-based label, Innovative Leisure (Alex Maas, BADBADNOTGOOD) on August 26. The band announced the record alongside their signing to Innovative Leisure last month with “Double Ending” which was tipped at Under the Radar upon release – the new single, which comes with an animation directed by Rapapawn Studio’s Óscar Raña and Cynthia Alfonso doubles down on the band’s agitated Krautrock-inflected art-rock which has previously found them open for the likes A Place to Bury Strangers, Omni, FRIGS and The KVB. The band will be touring the US later this month/next with dates in New York, Philadelphia, Pittsburgh and more – full run below.

5-3-8 – titled as a reference to the lyrical refrain that appears at a few points of the album of “fifths, thirds, octaves only” – was recorded at Sonic Ranch in Tornillo, Texas and Highland Recording Studio in Phoenix, Arizona; it was produced by Tony Brant and Sonny Di Perri (Protomartyr, DIIV, Nine Inch Nails, Animal Collective, Emma Ruth Rundle, Dirty Projectors) before being mastered at Elysian Sound by Dave Cooley. “Wait in Line” showcases bubblegum-pop-adjacent guitar lines and Motorik beats – it ebbs and flows throughout, showing dynamic to the band’s sound and ability to blend the loud with occasional moments of respite. 

Speaking about the single, singer/guitarist, Dane Jarvie says: “The song is influenced by “The Lottery in Babylon,” a short story by the magical realism author, Jorge Luis Borges. Dealing with the role that chance supposedly plays in life, and a political and socio-economic system that operates and revolves around that variable as dogma, followed by its subsequent corruption of it. In many ways, it is a criticism of the human tendency to claim dominion of nature and capitalize on it anyway.”

Dendrons hit the road before they even knew exactly where they were headed. On New Year’s Day 2018, Dane Jarvie and Zak Sprenger first convened in Chicago to start a new project, recording a demo at home by the seat of their pants, and almost immediately after, began to play shows. “I would just email as many people as possible,” says Jarvie. “I’m like, ‘Can we open this?’ It didn’t matter if it was in Dallas or New Orleans or Sioux Falls, South Dakota. It was like, let’s go.”

With a band name chosen by flipping through books in the library (“Dendron” is Greek for “tree”) and a sound and lineup in healthy evolution as they bounced around North America, Dendrons were finding who they were in front of a live audience. Over the course of 2018 and 2019, they were developing a propulsive, acerbic rock style both reminiscent of midwestern peers like Deeper and Dehd and reaching beyond to develop an unmistakable aura all their own. They put out their debut, 2020’s Dendrons, and were packing their bags for a full European tour before it had to be abruptly canceled when borders closed and venues shut down around the world. Suddenly, a band that cut their teeth on the road had to get comfortable staying at home.

“It was out of necessity,” says Jarvie, who started brainstorming ideas for a new album back at his family’s home in Phoenix, Arizona, just after the pandemic took hold. When he returned to Chicago a few months later, the full band of Jarvie (vocals/guitar/synth), Sprenger (synth/guitar), Matt Kase (bass/synth/vocals), John MacEachen (guitar/samples), Nick Togliatti (drums), and Stef Roti (drums) formed a bubble to get together and work out what would prove to be their highly ambitious and meticulously crafted second album, 5-3-8. “It was just like, well, we can’t tour, we can’t do anything,” Jarvie remembers. “So we might as well just stick together and really create something.”

Meeting three or four times a week, and ultimately rehearsing almost 40 song ideas, Dendrons began to methodically whittle down the batch to a set of songs that weaved through one another intricately, with lyrical and musical motifs dancing around a swirling rock arrangement. Taken on their own, tracks like “Vain Repeating” and “Octaves Only” tap into the manic energy and wit of bands like Wire and Stereolab—but in the context of the album’s full vision, they come together to paint an album informed by the post-truth spectacle, and a desire for optimism in the face of isolation.

The lyrics paint those emotions with subtlety, having been put together partially through a cut-up method, grabbing words and phrases from places such as CNN and CSPAN. “That was a real intention with this record was to try different techniques in terms of how words are coming together—stringing together sentences through collage,” Jarvie explains. On “New Outlook 1,” he sings in his direct, almost Stephen Malkmus-like style: “Soon we’ll be stooped over laughing / Watching ourselves high on a vision.”

“You’re always gonna leave a record feeling like there is something more to be said,” Jarvie says. “I don’t believe in a magnum opus. Art is contextual and exists for the specific time and circumstance it was created in. Every record is a conversation with the last.”

Tour dates
Jun 23 – Jacksonville, FL @ The Walrus
Jun 24 – Tampa, FL @ Hooch & Hive
Jun 25 – Charleston, SC @ Cutty’s Elliotborough
Jun 26 – Greenville, SC @ The Radio Room 
Jun 27 – Atlanta, GA @ 529 
Jun 29 – Charlotte, NC @ Snug Harbor
Jun 30 – Richmond, VA @ The Camel 
Jul 01 – New York City, NY @ Berlin
Jul 02 – Philadelphia @ Century Bar
Jul 03 – New York City, NY @ Trans-Pecos 
Jul 05 – Baltimore, MD @ Downsquares 
Jul 06 – Pittsburgh, PA @ Black Forge
Jul 07 – Asheville, NC @ Fleetwood’s 
Jul 08 – Nashville, TN @ TBA

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