‘How To Let Go’ is an album of two halves, where at times she seamlessly slides back into the laid-back persona of old.

He combines whispering brush patterns and flecks of industrial glitch in the cerebral ‘Foreplay’ yet writes the perfect neo-soul pop song in ‘The Loop’, exemplifying his cross-disciplinary skill, and ability to marry fluid performance with tonal nuance.

“Like two ribbons, still woven although we are fraying,” they admit. By accepting this, Let’s Eat Grandma have found the sonic balance between friendship, unity, and individual identity.

‘Heart Tax’ is much more expansive, and has her spreading her wings in a number of different stylistic directions whilst maintaining her trademark hypnotic rhythms as a through-line with which to tie everything together.

This follow-up is more inquisitive and self-exploratory, and just a touch darker - while still building on her signature nostalgic sound.

‘SongBook’ is a debut that suggests The Lazy Eyes have the guile to forge their own roads in a genre not currently experiencing a dearth of talent.

Bobby is a jack of all trades when it comes to surmising his subject matter while balancing the line of fact, fun, and fierce emotion. It makes for one of the year’s most essential records yet.

There’s just enough on ‘Everything…’ to ingratiate fans both new and old.

For those who missed the rabble-rousing of ‘Dogrel’ but liked the darkness of ‘A Hero’s Death’, this record splits the perfect difference, sealing it along the middle with the superglue of a band who now know exactly where they’re going. Truth be told, they’ve never been more at home.

While these tracks are testament to how well the LA trio can build an astronomical sense of atmosphere, they can create icy harshness with equal brilliance.

For an album winding in length, it doesn’t outstay its welcome; if the jump to a major means more lovingly fashioned breeziness like this, then so much the better.

‘Second Nature’ hits the mark when it comes to dancing, although taking the time to embrace those quieter moments can often be some of the best, too.

These songs will inevitably end up stuck in their heads. In short, it’s bloody lovely.

Omar Apollo inspires, and his competence as a vocalist is unmistakable on ‘Ivory’. Conflating his electro-pop tendencies with the occasional stride of a campfire guitar, he turns everything he touches to glistening radio gold.

It’s vulnerable, it’s heartfelt, and above all it feels real.

It finds him at his most confident, if not most innovative, and maybe his most comfortable.

‘Bronco’ flits between theatricality and poignancy, almost every song sounding like it could score a Western’s pivotal moment with ease. Helmed by the singer’s powerhouse vocals, it’s impossible not to be drawn in throughout the album’s 15 country-rock-song run.

‘Growing Up’ they easily cement themselves as far more than a viral moment, pairing political and social charge with a suitably playful charm. Opener ‘Oh!’ delivers a powerhouse homage to the band’s foremothers, highlighting ‘Growing Up’’s clever balance between frivolity, passion and skill.

Definitely an acquired taste for those who Grizzly Bear’s less immediate side already ticks multiple boxes, but for those it’s surely a win.

Rife with feelings of ephemeral isolation and deep personal anxieties, they have realised a new wave of modern storytelling, forging ‘The Line Is A Curve’ as an answer to an open call for honesty.

On ‘Chloë and the Next 20th Century’, Father John Misty is transporting himself to a different world; it sounds pretty damn sweet over there.

‘Fear of The Dawn’ is very much like the kind of party where you’re hoping daylight stays away for some time yet.

It’s the slightly wonky worldview of the band themselves that really elevates ‘Wet Leg’ into the realms of the truly special.

The Los Angeles singer-songwriter spinning tales of dark, often questionable situations in a barely-there whisper atop folkish instrumentation that owes similar debts to the city’s famed ‘70s scene and Elliott Smith. With yes, witty lyrical asides that jar smartly with his seemingly timeless sound.

An enticing way to stay true to their roots, while approaching things in a fresh manner, their fourth record might still play to their self-deprecating strengths, but it also proves that they’re secretly ambitious too.

At the heart of ‘At the Hotspot’, though, is a reminder that for all of their eccentricities, Warmduscher remain a tight garage-rock outfit - just one that isn’t afraid to wander down some stylistic rabbit holes.

Their knack for incredible hooks is still there (see ‘Holiday’, the very definition of an earworm), but the effortless fun seems to have fallen by the wayside.

Awash with electric guitars equally as influenced by tradition as cathartic night drives, ‘Leave The Light On’ delves into the power of loneliness. Challenging the definition through both lyrics and sound, Pillow Queens deliberately play with light and heavy.