On last year’s Feathers & Skin, Martin King and Roberto Soave – the duo collectively known as Dogtablet – invited several guest vocalists to add to the pair’s varied blend of percussive industrialized soundscapes. This approach worked so well that the band has taken five tracks from the 2017 instrumental album Outlaws & Strays, imbuing them with new arrangements and vocal performances provided by a small contingent of friends. Among the most notable is Chemlab’s Jared Louche, returning from the previous album and who is now virtually a member of Dogtablet; as to be expected, his disaffected blend of melody and acerbic snarl conveying the sort of poetic architexture that has made him so revered brings much out of the monotonic ambience of “Torn From the Eye,” along with the piano-driven urban pulse of “The New Cold War 2020,” its darkly emotive harmonies reminiscent of a transhumanist Leonard Cohen. If that weren’t enough, Louche’s son Django Hendrickson appears to harmonize with him on “And Then (When It’s Gone),” the lively pianos and twinkling synths accompanied by distant ruffles of percussion, the results a shoegazing jazz/pop ballad. Coral Scere’s rich and bluesy vocal timbre transports the ominous and percussive expanse of “Pendulum (History Creeping)” into even darker territory, her fervent repetition’s “Fire away” impossible not to sing along with. Melodywhore takes on “The Guest” with a quiet reserve that is often overshadowed by the noisier fills on the instrumental, while Mike Reidy’s distinct sneer full of seething restraint on “The Infant” reminds of the more experimental moments of Shriekback, the angular bass lines and spazzing percussive backdrops making for a truly unsettling track. As a companion piece to the original album, as well as a continuation of Dogtablet’s vocal incorporations, Tales From the Outlaw is not the most essential entry in the group’s discography, but it offers a darkly pleasant presentation that is sure to please fans of both the band and the genre.