It’s disingenuous to claim that Let’s Eat Grandma’s launch into the art pop stratosphere has been sudden, given they’ve been venerated by people In The Know since their formation in 2013 and more internationally with their debut 2016’s I, Gemini on Transgressive Records, but it certainly feels like their 2018 has been dizzying. I, Gemini adhered to a lo-fi mutedness that signalled the songwriting chops of the duo, Rosa Walton and Jenny Hollingworth, but I’m All Ears is an intoxicatingly radical progression that’s, since the release of the advance singles such as SOPHIE-produced belter ‘Hot Pink,’ prompted a snowballing anticipation.

Such hype they welcome. I’m All Ears opener ‘Whitewater’ has the operatic brevity of a musical melodrama overture – the record isn’t too far off it to be honest – as sonorous synth strings torpedo a dense dirge which fades into the early bars of ‘Hot Pink’s’ deceptive patience. Encompassing earnest synthpop (‘It’s Not Just Me’, ‘Falling Into Me’), PC Music volatility (‘Hot Pink’), glam rock fusion (‘Cool & Collected’), and melancholic quasi-R&B (‘Snakes & Ladders’), they complement and collectivise modern pop’s sub-groups and peripheral movements. It’s maximalistic and decadent, overblown and brilliantly unexpected, an orchestra of eclectic synths and vocal distortions that weave perfectly. ‘I Will Be Waiting,’ in its plaintive build-up and gradual accumulation of extended parts – a drum pattern, a waveform(?) choir, and the church-bell synths that ring in its climax – is one of the most perfectly assembled pop songs of the year.

Walton and Hollingworth have stressed their telepathic instinct for melody and structure in interviews, that since they were young children they clicked as muses, and such prolonged, established collaboration – even if they’re still teenagers – is resonant. I’m All Ears’ greatest asset is its uniform heterogeneity, an even spread of gently familiar, faintly idiosyncratic tracks that aren’t only particular in tone and tempo but structure. Surface value, they sound a drastically different band on the penultimate piano ballad ‘Ava’ to glamorous slow-burner ‘Donnie Darko’ (what post rock would be if it ever got round to feeling happy), but the gratification of their hooks is constant – the kickdrum on ‘Donnie Darko’ rewards with the simple immediacy of Chicago house – and they largely cohere around the pair’s energetic vocals interplay, their harmonies coagulating the pristine charisma of Lauren Mayberry and the earthy wisdom of Fiona Apple. Stylistically lucid but persistently dissonant, this is an immaculately textured and adroitly realised work.

If there’s a criticism of I’m All Ears it’s its slightness, its relative frippery. Guardian critic Laura Snapes aptly described their label-mate SOPHIE’s recent, seminal OIL OF EVERY PEARL's UN-INSIDES as its sister album, but whereas OIL – and recent pop behemoths like Melodrama and arguably Pop 2 – is underpinned by an assertive gravitas, I’m All Ears glides gracefully through your soul, fluttering heartstrings without properly imprinting itself. Its romantic angst and positivistic agency is moving but the flawlessly crystalline structure is too impenetrable to connect with meaningfully, absent of the cracks in character and emotional high stakes which typify canonically Great pop records.

These are sprightly, assured, gratifying pop songs, pirouetting with enough agitated inventiveness to ensure each run is sunny, surprising, and fluently fun; a damn fine Summer record.