In March of this year Edwyn Collins released his ninth studio album, Badbea, his fourth since two life-altering cerebral haemorrhages derailed him in 2005. It’s a vivacious collection that runs the gamut of what guitar pop can be, from acoustic strumming to psychedelic riffing to lo-fi punkin’, all catchy as burrs. His set is peppered with it.

According to Metronomy maestro Joseph Mount, his first attempt of album number six was a much snappier affair. But it wasn’t until he broke from his self-imposed immediacy that it started connecting with him. In its final form, Metronomy Forever clocks in at 17 tracks of singles, instrumentals and soundscapes, and though it skirts close to double-album indulgence, you’re never more than one song away from a winner.

“Thanks for being in here with us tonight,” Wayne Coyne begins, “when you could be outside with the universe shining down on us.” Having clearly experienced a pre-gig epiphany from the unexceptional South London sky, The Flaming Lips singer seems primed to take us all higher. And so this 20th-anniversary celebration of their breakthrough LP The Soft Bulletin begins with an explosion of joy.

This is the kind of thing that the Proms does well – indeed, where else would it get an outing? A "big event" piece of massive scale in terms of size and duration, in many ways a modern Spem in Alium, but where Tallis’s 1570 piece demands 40 singers, In the Name of the Earth ups the ante to 700-plus voices, led by eight conductors and arrayed around the Royal Albert Hall.

Original UK pressings of Slade’s Seventies mega-hit singles like “Coz I Luv You”, “Everyday”, “Gudbuy T’Jane” and “Mama Weer all Crazee Now” sell for between £1 and £5 if they’re in decent shape. If a copy is needed to listen to, there’s little need to fork out more than £2. On seven-inch, the real Slade rarities are their pre-hit singles and what they issued earlier as Ambrose Slade and The 'N Betweens.

Neu!, Neu! 2 and Neu! 75.

A ghostly voice pronounces “there’s no need to make the sepulchre white.” Following this declaration, what sounds like an ocarina wails mournfully over spindly guitar, a sonorous bass guitar and circular, heartbeat drumming. Tunnelvision’s “Whitened Sepulchre” isn’t a happy-go-lucky look at life.

Welcome to the latest edition of theartsdesk on Vinyl, the monthly online musical resource that knows no genre boundaries as it treks through every release on plastic that it can find. This time round we’ve everything from death metal to obscure jazz to electropop, sounds for almost every musical taste. Dive in!

Guns N’ Roses members do love a side project, from Slash’s Snakepit and Conspirators to Axl’s stint as AC/DC frontman.

“Thank you for making us so fucking special!” It’s the end the set and both adjectives are appropriate. “Yes I had to say fucking special,” Peaches yells, combative and loved. The audience howls back. The Royal Festival Hall is hardly a natural environment for anarchic art-punk scuzz but Peaches knows how to work her crowd. She’s played here before and saw Grace Jones perform live, after all.