In Up & Coming:

The Asteroid No. 4, the Morning After Girls, Black Nite Crash

(Comet) Since their inception in 2003, New-York-City-by-way-of-Melbourne sleepy psychedelic rockers the Morning After Girls have toured with many of their most relevant reference points—Dandy Warhols, Brian Jonestown Massacre, Black Rebel Motorcycle Club, and Warlocks (with whom they just hit town last month). Morning After Girls' aesthetic is probably closest to the Dandy Warhols', without being quite so cloying. The songwriting is much better than Warlocks' (though nowhere near as rocking) and 70 percent of anything Jonestown figurehead Anton Newcombe commits to tape, although it doesn't even come close to that other 30 percent. GRANT BRISSEY

The Psychedelic Furs, Happy Mondays, Amusement Parks on Fire

(Moore) Happy Mondays have probably gobbled up more drugs than you'll ever see in your life, and yet here they are in 2009, not dead, and even still joined by mascot/dancer/vibe-facilitator Bez, who's had some odd troubles with tax evasion and reality television since the band's Madchester heyday. About that heyday: Between binges, the Mondays made some ridiculously addled dance music, bridging funk, post-punk, and pre-rave with bleary-eyed agitation and well-baggy ease. The Psychedelic Furs recorded the song that lent its title to John Hughes's Pretty in Pink, and its easy to see why they fit so well into that director's iconic teen oeuvre—their songs are as melodramatic as teen angst and as distinctively memorable as the best of Hughes's dialogue. (Though, really, "Into You Like a Train" or "Dumb Waiters" are the better songs.) ERIC GRANDY

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