After being touted as the next Air France or M83, Postiljonen had a lot to live up to. Forming in September of 2011, the dream-pop threesome have unfurled sporadic singles (including a monumnetal reinterpretation of 'How Will I Know' by Whitney Houston), piquing interest around their native Sweden and across the rolling plains of mainland Europe. Indeed, they're accumulating quite a platoon of avid followers, who have been drawn to their euphoric-yet-ethereal dreamy synthpop. They've been slowly gathering speed and critical acclaim, and their forthcoming debut, entitled Skyer, is a highly anticipated release; fortunately, as it's out July 22nd, via Best Fit Recordings, we don't have long to wait.

Recent single 'Supreme' is an 8-bit explosion of pastoral freedom; synth xylophones and electro gizmos judder as they spew J-pop arpeggios - it almost sounds like someone inject a Sega Megadrive with ecstasy. Fizzing beats and a classic dance structure indicate the track's future: it's a club tune. It's the kind of hit that would be played over a montage of drunken glee and misspent youth in a teen flick. There's 80s axe solos and corroded samples, and the comparisons to M83 suddenly make a lot of sense.

The next cut to be released as a single will be the 90s-sitcom saxophone-led 'Atlantis'. It sprouts neo-jazz hooks everywhere - again recalling M83 - summoning visions of a sprawling NYC skyline; twinkling lights and comfortable claustrophobia. As Jordan Baker so eloquently says in The Great Gatsby: "I like large parties. They're so intimate. At small parties there isn't any privacy." It's a similar feeling here. It's such an intimate sound - the swirling deluge of woozy synths and hazy vocals cradle you like a baby - but at the same time, there's a strident sense of adventure and mystery and embarking into the expansive unknown. You wouldn't get the intimacy that's so vital on Skyer if Postiljonen weren't also eloping into a tie-dyed, beglittered abyss.

There my be countless similarities to Air France or M83, but that doesn't make Skyer redundant. It's not derivative, either. You get the impression they may not even count M83 among their influences, and that it's just serendipity. Regardless, Anthony Gonzalez favours - at least recently - clubbier, dancier and more disconnected beats, whereas Postiljonen prefer a tsunami of fuzziness. Gonzalez is also male, and Bøe is not, which gives Postiljonen an upper hand. Female vocals always seem to work so much better in electronic music - they slot into the timbre far more successfully (not always, but generally) - so that's something Postiljonen can laud over Gonzalez.

'Plastic Panorama', with faux steel pans and a hazy harp rainstorm, lurches into life. There are snippets of smoky The Princess Bride quotes, drenched under a swarm of effects dotted throughout, which are pleasantly cheesy. It's relaxed and laidback like a day at the pool; jaunty handclaps and simple percussion are easy to follow and bop to. 'All That We Had Is Lost' could be the highlight of the LP. It burns slow, beginning life as an 80s power-ballad before transforming into a saxtronica paradise lined with Breakfast At Tiffany's soundbites. The percussion is titanic, the synths are swimming in lakes of silver, the vocals are crisp and magical. It's bittersweet, with the emphasis on sweet.

Skyer is undoubtedly influenced by the pop of the 80s (and perhaps even 90s). There are many homages to the era, most notably in the saxophone passages and warm, slightly cheddaresque synthpop. It's a bubbling melange of shoegaze-tinted dreampop that has crossover appeal and plenty of chilled-out vibes to spend the summer exploring. It is definitely a record to be appreciated in the sun, but not necessarily one to exert massive energy to. It's more like the kind of record you'd put on as the beach campfire turned to embers and people were content just talking rather than jumping off or into things.