At multi-stage festivals like New Orleans Jazz Fest or Bonnaroo, we do our music genre hopping by darting from stage to stage. At Bang on a Can's Music Marathon, the finale of their annual three-week Summer Festival in the Berkshires, the stage does all the style jumping for us. And as as I settle into the Hunter Center for the latest Bangfest of six-plus uninterrupted hours of rare, ear-expanding, boundary-smacking new music, I'm not too proud to say I'm excited to sit back and enjoy the ride. Again.

As with New Orleans' Jazz Fest, it's gratifying to watch some of the regulars of BOAC's festival grow from year to year. Like Christine Southworth, who opens the marathon with "Super Collider," which has been performed previously, among other places, at Lincoln Center with Kronos Quartet and Gamelan Galak Tika. Here, a string quartet of summer residents and the 10-piece Gamelan Elektrika take on Southworth's digital hybrid. Elektrika are playing traditional Indonesian gamelan instruments

After an almost five-year hiatus, Incubus are back with their moody brand of rock accentuated by lead singer Brandon Boyd's signature bellowing vocals. Not counting their 2009 greatest-hits album Monuments And Melodies, the band is returning from the longest hiatus they've had between albums--and their growth shows.

Having the time off to pursue personal projects--which for Boyd included last year's Wild Trapeze solo effort and an interest in watercolor and ink illustrations--the band appears to have matured with their latest work (Boyd's even wearing a shirt). The songs they've released thus far from their latest album If Not Now, When? appear to be more introspective than their past albums, contemplating the broader spectrums of topics like youth and love, memories past and moments lost. Having started in 1991, Incubus certainly do some prioritizing and reflecting on their 20 years of experince for this album. Sometimes it takes a long hiatus to put everything into perspective, and

Aptly named after a Funkadelic song, Urge Overkill formed in 1986 amid Chicago's industrial-hardcore scene, but thankfully, they quickly eschewed the grating hardcore of their Steve Albini-produced debut EP and instead cultivated a high-concept image as lounge-dwelling, martini-swilling, leisure-suited hedonists (complete with omnipresent cocktails, monogrammed smoking jackets, and medallions nestled in exposed chest hair). UO were the ultimate antithesis of the Chicago scene, and of '90s in general, since that decade was mostly typified by self-effacing, stripped-down grungesters. But that's what made them so refreshing. And that's what makes their classic Rat-Pack-meets-Black Sabbath songs--particularly from their 1993 breakthrough Saturation, a super-hi-fi, reverent recreation of the colossal RAWK sound of AM radio's glory days, as outlandish and epic as anything KISS, Cheap Trick, or Alice Cooper ever laid to tape--still sound so awesome nearly 20 years later.

UO have laid low for

Hard rock suffered a tragic loss with the death of AC/DC frontman Bon Scott in 1980, just as the band began working on Back In Black. A year later, the concert film Let There Be Rock, documenting one of Scott's last performances with AC/DC on their breakout Highway To Hell tour, was released in theaters. Remastered, the film is now being released on DVD and Blu-Ray for its 30th anniversary. Although he was the second of three AC/DC singers (the first guy, wow, totally different band), Scott is still considered part of the band and his legacy lives on.

Shot during the Australian band's 1979 Paris concert, the film includes the entire performance, plus backstage shenanigans and some rare footage of Scott's last interviews. The limited-run Collector's Edition includes recent interviews with rock journalists and musicians like Rick Allen (Def Leppard), Billy Corgan (Smashing Pumpkins) and Lemmy Kilmister (Motorhead), plus more in-depth looks at the band and their rakishly charming leader.