After three decades, the long-lost album from Ronnie and Jason Martin’s (Joy Electric, Starflyer 59) first band has finally been released.

Absolutely worth checking out if you’ve ever found yourself pining for the “classic” 4AD sound.

The duo’s latest collection of nostalgia-soaked songs contains some of their most abstract and affecting music to date.

Polly Fae’s latest album is full of dark, haunting dreampop that’s the perfect soundtrack for autumn evenings.

Hana Vu’s latest EP is filled with catchy dreampop that’s all the more so for its mundanity.

Gavin Miller’s latest mines the same sort of “nostalgist” sound as artists like July Skies and Epic 45.

It’s not often that an album comes from out of nowhere and immediately charms and enchants you. This is one of those albums.

Pure Bathing Culture’s music does contain that ’80s vibe that’s all the rage thanks to chillwave, etc., but these songs are more than exercises in musical nostalgia.

The trio’s debut album is lovely ambient folk-pop perfect for the coming winter.

Sleep Experiments’ delicate, unassuming take on ambient dreampop and slowcore consistently conjure up autumn’s chillier climes.

Of the many Slowdive/MBV/Cocteau aficionados that have appeared in recent years, Canisius is one to keep an eye on.

There’s a sense of joy and wonder in Keith Canisius’ music and it always proves infectious and affecting.

Let’s get the obvious out of way: the Cocteau Twins are the most obvious point of reference, particularly Treasure and Victorialand.

The Swedish duo have created what could very well be the ambient/dream-pop album of 2009.

The Manchester-based six-piece have a decided fixation on the sounds associated with the glory days of 4AD Records.

At its best, I find it to be just as affecting as when I heard “Dreaming of Spires” so long ago.

Ultimately, Lum and Bee are all about creating a mood with their music, a relaxed and blissed-out vibe.

Music that, despite its sometimes painful awkwardness and delicacy, is capable of reminding us of something we’ve long forgotten.

Hopefully, this collection of odds and sods from Manual’s archives presages a sea change in Jonas Munk’s career.

Shoegazer pop that proves to be far more affecting and infectious than one might initially think.