Earlier this summer the Geneva, Switzerland based L'Eclair released their fourth LP, Cloud Drifter, via our neighborhood friends down the hill at Innovative Leisure. We've been following the Swiss outfit since Frank Maston turned us onto them in 2019 when the group supported his stateside tour, and later recorded the 2021 collaborative album, Souvenir. For their debut Lagniappe Session, L'Eclair reimagines some 1979 disco heat via Anita Ward's "Ring My Bell," embrace the street soul of Lisa Baron's 1990 "Lovin N Affection," and engage with something more recent in the form of Beach House's now decade-old "Space Song."

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Tracked in New Orleans at Bruisey Peets’ Lake Vista compound on a Tascam 388, for their debut Lagniappe Session Silver Synthetic add their steady brand of choogle to Coney Island Baby era Lou Reed, some late '70s Chris Spedding and, naturally, give a nod to the mount Rushmore of the genre via JJ Cale's "Wish I Had Not Said That." Hit with a near city wide black out while recording, the band packed their car full of gear and went looking for electricity. The lights were on at Funky Nola LLC, where they finished out the tunes.

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Aux Meadows, the Oakland-based trio of Steve Dawson (dobro, lap steel), Joe Imwalle (synths, piano) and Chris Royalty (guitar, bass), touch down for this latest installment of the Lagniappe Sessions. As noted in our Midyear Review, the group's latest LP, Draw Near, is one of our favorite records of 2025, a sentiment that is only reaffirmed by the following three covers. Here, the trio works up Another Green World era Eno, Sonic Youth's mid-90s high watermark "The Diamond Sea," and "the killer" himself -- Jerry Lee Lewis.

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Cameron Knowler is one of the latest young guns to distinguish himself in the ever evolving world of guitar soli, most readily apparent via his 2025 long-player, CRK, released earlier this year by the eveready Worried Songs. As we noted in our review, Knowler is indebted to his instrument’s history; his playing steadfast, concise, and open to the possibility of the unexpected. For this installment of the Lagniappe Sessions Knowler pays tribute to genre godhead John Fahey, Norman Blake, David Nape and Elizabeth Cotton.

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Nova Scotian quartet Nap Eyes have the right stuff: eclectic and clattering rock & roll moves, a distinct zone, and best of all, sly and quixotic lyrics. On their latest, 2024's The Neon Gate, songwriter Nigel Chapman manages to pull in nods to Nintendo 64 games, Russian poets, French filmmaker Chris Marker, and Goo Goo Dolls megahits, resulting in a work that feels real and lived in in a way that so many of their indie rock contemporaries fail to achieve. For their second Lagniappe Session, they cover Kathy Heideman and The Tragically Hip.

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Under the moniker Adeline Hotel, New York-based musician Dan Knishkowy has spent nearly the last decade releasing one fantastic album after another. A benchmark identity of the project is that no release ever repeats quite the same sonic foray, a deliberate approach taking creative inspiration from the likes of Jim O'Rourke and Arthur Russell, the musician revealed to AD last year. After hearing that sound mutate from fingerpicking guitar to the jazzy orchestral pop of Hot Fruit to last year's personal concept album Whodunnit, Adeline Hotel's inaugural Lagniappe Session reveals everything on full display.

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Reviewing Yves Jarvis' All Cylinders, we wrote, "Where once was a loose attempt at art gospel or chopped-up soul, now there is a conscious, sincere engagement with the classics Jarvis clearly adores—Paul McCartney, Love, Stevie Wonder, and Prince." Those are clearly classic touchstones, but Jarvis does more than tap into them: he taps into their spirits and synthesizes them into something brand new. Jarvis is a melodic polymath, which is made clear by his first ever Lagniappe Session, which finds him covering material from Porter Robinson, John Mayer, and a standard from Frank Sinatra.

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Since Ezra Feinberg’s return to making and releasing music at the close of the last decade, he’s been on an unbelievable run. Feinberg’s contributions to our ongoing series of Lagniappe Sessions square the circle of his sound, offering up covers of the shimmering folk-pop vocal group The Roches, on the one hand, and minimalist composer and Philip Glass Ensemble stalwart Jon Gibson, on the other. Feinberg’s gift has always been to endow minimalist process and ambient expansion with a real emotional weight, so the balance here between lovelorn romanticism and new music abstraction seems particularly on point. Feinberg’s covers are alternately heartbreaking and harrowing.

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Hailing from Music City, USA, Styrofoam Winos are Lou Turner, Joe Kenkel and Trevor Nikrant. Following up one of our favorite albums of 2024, the Winos return this month with their debut Lagniappe Session. With four covers as eclectic and malleable as their collective influences, the trio lean into the Roches' 1979 s/t cult classic, the wonder that is “Blue” Gene Tyranny, peak and primal Exene Cervenka, and a cut via Link Wray's inestimable 3-Track Shack era.

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Earlier this year saw the return of Rich Ruth via the Nashville based artist's third long-player, Water Still Flows, an album we described as "absolutely audacious in its musical fusions and amalgamations... a woozy kaleidoscope of spiritual jazz, post-rock, chiming minimalism, Berlin school synth sequencers, metal and drone." For this installment of the Lagniappe Sessions, Michael Ruth and co. reimagine the Boognish via a cover of Ween's "A Tear For Eddie," and take on Black Sabbath outlier "Planet Caravan," via the band's sophomore effort, 1970's Paranoid.

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