The launch of Record Store Day with a phenomenal set by Orbital in a tiny basement couldn’t have been more appropriate. The current vinyl appreciation re-revolution is only possible thanks to 90s dance acts and DJs keeping the 12” alive while the indie kids bough Sleeper CD’s. The juxtaposition between digital bleeps and analogue discs is wonderfully astounding.

Orbital were also lasts week’s king of the streamers; their 6music Maida Vale, and RSD sets both beamed live through the internets. The ability to immediately stream the albums we want to hear is the great leap of modern times, but as Record Store Day proves, it’s only possible if you get out there and buy them as well.

Artists let us test drive their creations and judge their work. The Shins streamed Port of Morrow through iTunes and here on the 405 we’ve streamed the magnificent THEEsatisfaction debut, gifting us insights into their brilliant musical minds. Now it’s our job to check out this week’s beast album streams, and decide where to spend our dollar. Enjoy.

Paul Weller – Sonik Kicks (

I’ve never liked Paul Weller. I tolerate 'Town Called Malice' purely because of its mixability into my DJ sets. Sonik Kicks, however, shows him in a new light, mainly because it doesn’t sound like Paul Weller. Lead single 'That Dangerous' age rips off Gruff Rhys - a style he keeps returning to, while he goes all dubby new-age for the Galliano-esque 'Study In Blue'. Sonik Kicks is the sound of a man who’s given up trying to be what people expect and smashed his singer songwriter mod shackles to produce a brilliantly eclectic record.

Fanuelle – Fanuelle (

This re-mastered version of Fanuelle’s hard to find debut sounds like someone who hasn’t been outside in months. It’s authentically lo-fi, Casio and synths, bedsit ballads are Daniel Johnston duetting with Jyoti Mishra in lonesome chat-rooms. There are film samples nestled into the minor melancholia providing a deeply personal insight into Fanuelle. It’s a delightfully independent and stylish record.

Teeth – The Strain (

Although released in February The Strain streamed this week due to the death of frontman John Grabski III from cancer. Its Melvinseque doom grunge is a delight to behold and has been one of my most played albums of 2012. This stream will enlighten anyone who thought guitars were over, and will inspire you to buy it as all money goes to cancer charities.

Diggy – Unexpected Arrival (

Hot damn, this is some shatteringly innovative RnB. It’s as slick a Sade’s check yet it quivers with Shadow-lite beats and nu-coast lyrics. It manages to avoid those sickly RnB clichés and shuns the pop dollar as only the G-funk pioneers could. Embrace Diggy now, while he’s credible, so you can boast you were there at the start.

Daniel Rossen - Silent Hour/ Golden Mile (

Grizzly Bear man Rossen, has created as an American slide-guitar laden record as you would expect; folkie and fey. But what’s surprising is the Page and Plant No Quarter influence, a slightly soaring spirituality with an Elliot Smith undertone. It’s graciously textured with a rousing psychedelic hinge to support its grandiose if somewhat brief ambitions.

Nick Curly – Between The Lines (

Curly proves continues to prove the Germans make the best techno, but rather than pound the Balearics, Between The Lines takes the soulful tech-house route of early Layo and Bushwacka to produce a beautifully building 3am gem. The tracks have a personal depth with has been forgotten in much of modern dance, with spare vocals dropping with precision.

Blood Red Shoes – In Time To Voices (

Our Brighton BFF’s third disc may be a polished affair but beneath the production veneer there’s a brilliantly energising record. They’ve matured to become probably Britain’s most relevant guitar band alongside the Cribs and ITTV states their conquering intent. Their ferocity is slightly restrained, yet perfect to solidify them as modern guitar greats, or the Kills it’s ok to like.

The Great Sabatini – Matterhorn (

Once you see past the grindcore sheen you realise Matterhorn is a wonderfully crafted avant-garde record with the intricacies of Mogwai and glare of Godspeed YBE. Yes, its heavy, but it’s filled with delicate vocals and juxtaposed melodies, and there’s even a twinkly piano interlude. With only six tracks its weakness is its length.

Found a brilliant album stream? Then Tweet me @HiDavidNewbury.