Runners (Dinked Edition #439)

Some things in life are meant to be consumed whole: a perfectly paced movie, an oyster at Whitstable Bay, a novella on a sunny afternoon. Into this pantheon of singular experiences comes Runners, the second album from London instrumental rock quartet Dog Unit.

The follow-up to At Home, the band’s cult favourite 2024 debut album, Runners moves seamlessly across its 42-minute runtime. It finds the quartet – comprising Sam Walton, Henry Scowcroft, James Weaver and Lucy Jamieson – crafting tracks that undulate, churn and yearn in service of a greater purpose as they plough fertile fields of sonic storytelling. Made over the first four months of 2026 at the band’s studio in Limehouse, East London, Runners finds the core group, alongside producer and long-time collaborator Mark Estall, operating with greater ambition and scope than ever before. This time they commissioned a string quartet specifically for this project, and reappointed noted experimental bass clarinetist Heather Roche, as well as taking in a cavalcade of instruments at their studio, including vintage synths, drum machines, pianos, and harmonium. The band’s music is often compared to cinema, and if At Home was a charming micro-budget indie flick bursting with potential, Runners is a widescreen realisation that stands up to repeat viewings.

The album’s quantum leap of progress was spurred on, in part, by the band’s detour into acoustic instrumentation for the At Home, Still EP that followed their debut LP. Their knack for creating instrumental music that has undeniable melody, rich texture and inescapable groove remains, as does the sense that this is album-music built for continuous play, not one-off singles, but for their latest record, that ethos has been augmented by a soundworld that has become richer and more nuanced, compositional techniques that have become more ambitious, and musicianship that feels simultaneously more accomplished and effortless. In short, Runners is the sound of Dog Unit at their most fluent to date, completely in charge of their own musical–emotional architecture, and this time round charging it with stillness and swagger, melancholy and joy, and tension and release with exacting judgment.

For an album brimming with complementary ideas, it figures that its title should have so many interpretations: runners can be candidates for selection (and the tracks on this album are a little like that, especially when the band were compiling the tracklist or – hey! – running order); runners can be lines of paint that drip down a canvas, merging and blending into one big work; runners can be the connecting shoots between plants, overlapping one another; and runners can also be messengers that carry information from one place to another, bridging a listener to their signal. All of the tracks on Runners are runners in some way. Prepare to be transported in the way only a proper album can.

Side A

A1. TINY DIVERSIONS

A2. THREE HUNDRED BEARS

A3. PUSH ALERT

A4. EVERYBODY HAS A FAVOURITE PIN

Side B

B1. AUTO-REVERSE

B2. THE KNOWLEDGE

B3. PRESS “2” FOR DOG UNIT

B4. PROBLEMS COME WITH SOLUTIONS