Uncut

Magical acid-folk from New York bothy

Long Island punk-funk revivalists'third LP

The most Californian band in Dublin turn their heads homewards

Heading up Kansas indie band Butterglory, Matt Suggs ended the '90s in disarray as first the band, then his relationship with its girl drummer, dissolved. Returning home to California, he cut countrified solo debut The Golden Days Before They End in 2000. Returning with Brooklyn's Thee Higher Burning Fire as back-up, its successor is harder, crusted in antsy guitars, though Suggs' slightly distracted vocals give it a homemade quality that pushes Amigo Row into Hayden territory rather than straight-ahead rock.

As leader of Denton, Texas' Centro-Matic and its slacker country cousin, South San Gabriel, Johnson has been a prolific purveyor of all things bleak and oddly beautiful. Like 2002's solo debut Murder Of Tides, Vultures Await is a narcoleptic song suite of plucked guitar, sombre piano and drums like stuttering heartbeats. Cloaked in strings and cracked vocals, it's hardly laugh-a-minute, but absorbing nonetheless.

Like his contemporary Rodney Crowell, head Blaster Alvin seems to have reached a reflective career intersection. His first all-new LP in six years revisits youthful memories of the titular LA club where he became spellbound by Big Joe Turner and T-Bone Walker. As a result, it's his bluesiest, toughest record since '91's Blue Boulevard.

"Downright disgusted and sick to the soul"of the music they were hearing out there, Hayseed Dixie cut 2001 debut A Hillbilly Tribute To AC/DC in two days, loaded on beer and bourbon. Now, from the (sadly) fictional valley of Deer Lick Holler, comes this: 12 Appalachian blasts through Kiss, Queen, Motörhead and more.

Stunning all-star tribute to country music's first dynasty, produced by John Carter Cash As musical legacies go, the Carter Family takes some topping. From an obscure 100,000-watt Mexican radio station, the truly seminal recordings of Alvin Pleasant Carter, wife Sara and cousin Maybelle took country to a whole new coast-to-coast American audience in the '30s. As vocal-harmony innovators, they were as vital to the development of bluegrass as Bill Monroe.

West African star finally escapes the French pop scene

Self-styled Chauncey Gardiner of cute implies a lot but says little