There’s a history of albums being covered in their entirety, from Laibach’s martial reinterpretation of the Beatles’ Let It Be to Ryan Adams taking on Taylor Swift’s 1989 (and losing). What sets Chicago singer-songwriter Ryley Walker’s reappraisal of Dave Matthews Band’s The Lillywhite Sessions apart is that the original songs, – atypically downbeat, and recorded in 2000, were never formally released, although they were leaked online soon afterwards, and many ultimately appeared in re-recorded form on 2002’s Busted Stuff.

Walker considers the album such a guilty pleasure that it warranted a radical reworking. Throughout, he brings a more expansive touch to the solid, blue-collar jamming of the originals. Whereas the DMB’s Sweet Up and Down was a pleasant if unremarkable slice of lightly jazzy soft rock, Walker performs an instrumental version with saxophone thrust centre stage. JTR, meanwhile, is given a five-minute coda of skronking sax and post-rock envelope-pushing worthy of Jim O’Rourke.

Elsewhere, Walker pushes the experimentation too far: you’d be hard-pressed to locate even a semblance of a tune in Monkey Man’s wilfully discordant five minutes. This, then, is more of a curio than a proper follow-up to May’s Deafman Glance, and is likely to be of far greater interest to DMB completists than the casual listener, but it makes for an at times intriguing project.