What a week! By which I mean, what a week for less excellent album streams. The Strokes continue to try and sabotage each other's careers by making the most identikit music they can (this time referencing A-ha for a joke). Peace reach even further back, to psychedelic sixties garage rock, and are even more boring in the process. Depeche Mode are old. It's all a little disheartening, isn't it? Good thing I've been slaving away over a hot laptop to track down the good music you need to be getting all up on this week, eh?

Johnny Foreigner – Manhattan Projects (Bandcamp)

The Birmingham quartet are like the Woody Allen of scrappy indie rock – because they're so prolific, not because they have an icky relationship with their step-daughter (also I'm not sure if any of them are Jewish). They also have an eye for modern-day neuroses, and a better hit rate than Woody's latter-day efforts: Manhattan Projects is the latest of those hits. An acoustic EP recorded in their practice space, it's significantly stronger than your average stripped-down radio-session – there is some electric guitar and synths, for one thing – as they run through songs from throughout their storied (if little-reported) career. The alternate versions of their self-referential, verbose 'hits' are altered enough to make them distinct, and the punny titles – 'Eyes Wide Terrified' becomes 'Ice Slide Terrordrive' – are top notch. Do love a good pun.

Edwyn Collins - Understated (The Guardian)

Full disclosure: I worship Edwyn Collins. Orange Juice, if you aren't aware of them, pre-figured the majority of the Franz Ferdinand-aping musicians (and haircuts) of the early noughties, but managed to cram twice as many tunes, twice as much brains and twice as much humour into their songs. Collins, their front man, later scored a solo hit with 'Girl Like You' (memorably performed in the club style on Shooting Stars). In 2005 he suffered a series of strokes, and had to re-learn how to talk, use his limbs...and not only did he do that, but he re-learned how to sing, play guitar, and write lyrics. Understated is his second album since recovering and, unlike the excellent Losing Sleep escapes from that shadow of his medical history – partially because the crutch of guest musicians have been disposed of. This is Edwyn truly solo again, and lord does he shine: his rich Scot tones are stronger than ever, his simpler lyrics are no less effective (and hilarious), and the band ably work around Northern Soul, heartfelt Postcard Records pop and all points in between.

Denitia & Sene – his and hers (StupidDope)

For one night only! Get his and hers jammed in your ear holes whilst you can, because singer/ songwriter Denitia Odigie and Brooklyn emcee Sene are only sharing their new album for today. I guess I should probably convince you a little further. You know the ambient R&B sound that's 'on trend' at the minute? It's that, but better. The two singers have incredibly strong, traditionally stirring voices, and when that's coupled with some bright, jazzy electronica skipping along behind them, you get some modern hot buttered soul that tastes good and has your tapping your foot like Fred Astaire. The snippets of studio conversations are pretty cute, too.

Shotgun Jimmie – Everything Everything (Exclaim!)

I'm fairly forthcoming with my adoration for full-bodied indie rock, especially when it comes from North America. With more than a little of Born Ruffians and Tokyo Police Club in his DNA, Jim Kilpatrick – stalwart of the Canadian music scene for many a year – recorded his latest solo album in a cabin on a four track (what we now call 'doing a Bon Iver'). Except he brought some friends along, and the warm, analogue four-track recordings have a rollicking, loosey-goosey Basement Tapes feel to them, as the ramshackle band rattle though some well-constructed, tuneful indie.

The Flaming Lips – The Terror (Live) (Soundcloud)

I've been waiting for this. It's been four years since the Flaming Lips put out a proper album – not an EP in a gummy skull, not a cover of Dark Side Of The Moon, not a collaboration with Ke$sha, but a proper LP – and it's very nearly here. I guess this is kind of a cheat since, strictly speaking, this isn't actually a stream of their new record, The Terror. It's a performance of said album, in full, at SXSW last week. Hear me (and them) out though – whilst the visual element is one of the most (rightly) celebrated part of Wayne Coyne and co's live shows, they're pretty rad musicians to boot. The Terror sounds almost like a continuation of Christmas On Mars, their mostly-instrumental, electronic freak out of a soundtrack for the band's equally experimental film. Adding some of Coyne's most emotive cracked falsetto this side of The Soft Bulletin gives it some heady weight and emotional depth, befitting of a record about when, in the front man's words, "we were hopeless, we were disturbed and, I think, accepting that some things are hopeless."

This week on Twitter @tennis_everyone I have been mainly writing about Cascada, Fun.'s stupid name, and a 'You Can Call Me Al'-related nightmare I had.