As usual, ALARM leaves no genre unexplored in our list of this year's overlooked gems.

Sigh: Scenes from Hell (The End, 1/19/10)

Sigh: "The Summer Funeral"

With a history of fusing other revered genres to a doomy combination of black metal and thrash, Japan's Sigh used its eighth studio album to deliver symphonic, epic metal that calls upon classical instrumentation to top its rock foundation.

Brass, woodwind, and string instruments — as well as organ and piano — accent as well as lead sinister melodies that take surprising turns through fanciful themes. Raspy, menacing vocals coat each track, resulting in a dramatic presentation that isn't much at odds with its complex backdrop.

RJD2: The Colossus (RJ’s Electrical Connections, 1/19/10)

RJD2: "Games You Can Win"

Following a divisive album that saw the introduction of poppy, soulful vocals, producer RJD2 returned with something of a split release — an album that leaves no shortage of accessible, vocal-driven tunes but that emphasizes some inventive instrumentals.  Whether or not you dig the soulful RJ, there's no doubt that the music on The Colossus is some of his best to date.

Chicago Underground Duo: Boca Negra (Thrill Jockey, 1/26/10)

Chicago Underground Duo: "Spy on the Floor"

For 15 years, the Chicago Underground Duo (and Trio, Quartet, and Orchestra) has been an avant-garde jazz outlet for prolific Chicago musicians Rob Mazurek (Exploding Star Orchestra, Isotope 217) and Chad Taylor.  Boca Negra is an interesting dichotomy, as spiraling vociferation leads to upbeat grooves, shifting piano chords, harmonic electronics, and ambient samples.

Algernon: Ghost Surveillance (Cuneiform, 1/26/10)

Algernon: "Broken Lady"

The brainchild of guitarist Dave Miller, Algernon walks a thin line between melodically driven post-rock and instrumental unconventionality.  Ghost Surveillance places greater emphasis on synthesizers and sprawling song structures, but at its core is the combination of accessibility and technicality that has defined Miller's style. Noisy, circular rock riffs transform to tranquil, wandering passages. "Timekiller," the album's fourth track, is a beautiful, buoyant number — and one of the band's best creations to date.

Bei Bei & Shawn Lee: Into the Wind (Ubiquity, 1/26/10)

Bei Bei & Shawn Lee: "East"

In the hands of a marvel, the guzheng — a gorgeous Chinese zither — resonates with tactile beauty as its many strings are plucked with precision.

Bei Bei, a native of Chengdu, China, is one such musical technician. And this collaboration with Shawn Lee, a prolific producer who can man as many genres as he sees fit, is undoubtedly one of the year's finest albums.  Together, the two use Into the Wind to navigate through funky down-tempo jams, Kung-Fu flavor, hip hop, soul, and driving grooves.

Daníel Bjarnason: Processions (Bedroom Community, 2/1/10)

Daníel Bjarnason: "Bow to String I: Sorrow Conquers Happiness"

Best known as a conductor and arranger for indie groups such as Sigur Rós, composer Daníel Bjarnason also holds a lofty classical résumé. Processions, his proper debut, is, at many points, a challenging classical work.  Powerful cellos scale and race with crackling percussions before settling into gently bowed and pizzicato string accompaniments; easily half a dozen strings battle for dominance in a sorrowful, harmonic piece that resonates long after hearing it.  Undoubtedly, Processions is a daring and original debut.

Shining: Blackjazz (Indie Recordings / Distribution, 2/2/10)

Shining: "Fisheye"

Beginning as an experimental acoustic jazz ensemble, Norway's Shining — the brainchild of saxophonist Jørgen Munkeby — transformed to a progressive jazz-fusion outfit before delving into its darker side for a collaboration with black-metallists Enslaved.

Blackjazz pushes deeper into the band's dark recesses, forging a progressive industrial sound for the young century.  Big, complex rock riffs, twisted through gnarly distortion, form the foundation and support a mass of frantic, whirring synth lines and gut-wrenching black-metal screams.  In all, Blackjazz is a new epic — and perhaps the best metal album of 2010.

Pillars and Tongues: Lay of Pilgrim Park, LP + download (Endless Nest, 2/9/10)

Pillars and Tongues: "The Center of"

With just three members, Pillars and Tongues manages to craft powerful folk abstractions and interwoven, trance-inducing vocal dynamics. Both composed and improvisational, these shifting forms evoke spiritual vibes in their soulful essence, heavenly harmonies, and repeated patterns.

Dessa: A Badly Broken Code (Doomtree, 2/9/10)

Dessa: "Dixon's Girl"

The only female member of Minneapolis hip-hop collective Doomtree, Dessa is a spoken-word vocalist, singer, and MC whose awaited full-length was finally released earlier this year.

On A Badly Broken Code, her true solo debut, Dessa's vocal diversity is matched by its underlying music, ranging from hard-hitting beats and rhymes to lilting harmonic overdubs.

The Bastard Noise / The Endless Blockade: The Red List (20 Buck Spin, 2/16/10)

The Bastard Noise: "Mutant World of Shame / Underworld"

A spinoff of treasured "power-violence" hardcore group Man is the Bastard, The Bastard Noise is approaching its 20th anniversary of creating noisy electro-doom brutality.  For this split release with hardcore/punk experimentalists The Endless Blockade, the group utilizes the trademark drum-and-bass style of Man is the Bastard in combination with its far-out sounds.  The Endless Blockade contributes three tracks to the release — one 14-minute epic and two avant-garde remixes.

Freeway & Jake One: The Stimulus Package (Rhymesayers, 2/16/10)

Freeway & Jake One: "Know What I Mean"

Continuing his life after Roc-A-Fella Records, former freestyle star Freeway now makes his debut on Rhymesayers, a fitting new home — if only temporary before a move to Cash Money.  Fellow Rhymesayers standout Jake One provides a funky, malleable backdrop for Freeway's fiery delivery and lyrics that are alternately personal and light in content. And though Freeway deserves his accolades, Jake One's production is the MVP of this collaboration.

Carolina Chocolate Drops: Genuine Negro Jig (Nonesuch, 2/16/10)

Carolina Chocolate Drops: "Hit 'Em Up Style" (Blu Cantrell)

Beholden to the traditions of Americana and early African-American folk, the string trio Carolina Chocolate Drops continues blurring the lines of old and new. On Genuine Negro Jig, the group's fifth album, a few original numbers and a trove of traditionals take root in banjo, fiddle, and percussion. Three-part harmonies shimmer on the famous folk tune "Trouble in Your Mind," and simplicity shines on gripping renditions of "Why Don't You Do Right?" by Kansas Joe McCoy and "Trampled Rose" by Tom Waits.  Most surprisingly, Genuine Negro Jig includes an enjoyable rendition of "Hit 'Em Up Style," an unintentionally farcical pop hit by Blu Cantrell.

Mako Sica: Dual Horizon LP (La Société Expéditionnaire, 2/16/10)

Mako Sica: "I'Itoi"

A translation of the phrase "land bad," Mako Sica has more than a nominal Native American influence; the trio's distant vocal reverberations and dirge-inspired tunes recall the spirituality of America's original inhabitants.

Between the vocalizations of Brent Fuscaldo, the melodies of guitarist Przemyslaw Krys Drazek, and the rhythms of drummer Michael J. Kendrick, Mako Sica maintains a strong balance of abilities — with a brooding combination of jangly guitars, reverberated vociferation, and instrumental dynamics.

High on Fire: Snakes for the Divine (E1 Music, 2/23/10)

High on Fire: "Snakes for the Divine"

Stoner-metal trio High on Fire has built a devoted following over the past dozen years as fans fell in love with Matt Pike's gruff vocals and thunderous guitar riffs. On Snakes for the Divine, Pike uses his throat to channel Lemmy Kilmister; meanwhile, the band has picked up its pace and crafted an album that isn’t as outstretched. Hard-hitting riffery leads an effort that, though diverse at times, may be the band’s most driving release.

Jaga Jazzist: One-Armed Bandit (Ninja Tune, 2/23/10)

Jaga Jazzist: "One-Armed Bandit"

Five years have passed since we've heard the powerhouse melodies of Norway's Jaga Jazzist, the post-rock/"nü-jazz" conception of brothers Lars and Martin Horntveth.

One-Armed Bandit, immediately the group's best album, resembles symphonic prog rock, arguably a few steps removed from parts of Frank Zappa's expansive catalog and closer to countryman Jono El Grande's diverse and theatrical style.  This album, however, is much more cohesive than either of those comparisons suggest, and at times it is nearly overwhelming with grooves and harmonious refrains.

Rob Swift: The Architect (Ipecac, 2/23/10)

Rob Swift: "The Architect"

Turntablist/DJ Robert Aguilar, formerly of the X-ecutioners, has long utilized his love of jazz, R&B, and other musical movements to create compelling hip-hop instrumentals while displaying his tight beat-juggling skills.

The Architect is Swift’s foray into the classical world. In addition to a multitude of sampled styles and sounds, classical cuts comprise a substantial chunk of this Ipecac debut. Rearranged strings, organ, and horns often make the foundation of a given track, occasionally evoking high-tension Italian Westerns, as Swift’s scratches dance atop banging beats.

Rotting Christ: Aealo (Season of Mist, 2/23/10)

Rotting Christ: "Aealo"

For more than 20 years, Athens' Rotting Christ has traversed different directions on the metal path.  With its previous release, Theogonia, the group released a striking, original album that fused its dark sound to the ethnic sounds of its ancestors.

Like its predecessor, Aealo features female Benedictine chants, lingual pipes, and a medieval feel. Combined with dueling high-pitched harmonies and powerful guitar work, these new elements highlight an album that should be among the most original metal releases of the year.

Ali Farka Touré & Toumani Diabaté: Ali and Toumani (Nonesuch, 2/23/10)

Ali Farka Touré & Toumani Diabaté: "Ruby"

As two of Africa's most internationally renowned musicians, guitar legend Ali Farka Touré and kora phenom Toumani Diabaté have displayed impeccable abilities while integrating the styles of other cultures into their ethnic sounds.

Each Malian, the two collaborated for the acclaimed In the Heart of the Moon in 2005, shortly before Farka Touré's passing in 2006. Fortunately, the two set aside time to record new material before touring for In the Heart of the Moon, and the result is another beautiful set of duets that sees a posthumous release.

Throughout Ali and Toumani, Farka Touré roots each creation in melodious African-blues pieces. Diabaté's virtuosity accents each track in the form of fanciful scales, which at times evoke classical harpsichord passages, perhaps most notably on "Sabu Yerkoy."

Fang Island: s/t (Sargent House, 2/23/10)

Fang Island: "Sideswiper"

Mostly comprised of ex-Daughters, the good-time rock quintet Fang Island was one of the most quickly ascending bands of 2010, jumping onto tours with The Flaming Lips and Stone Temple Pilots following the release of its first full-length album.

The self-titled release is chock full of palm-muted and speed-infused indie-prog anthems, with über-layered vocal harmonies to go with a triple-thick guitar assault and distorted-bass bludgeoning.  It's one of those rare releases that feels absolutely radiant and thrashing at the same time.

B. Dolan: Fallen House, Sunken City (Strange Famous, 3/2/10)

B. Dolan: "The Reptilian Agenda"

Going way back with Sage Francis, rapper B. Dolan is a like-minded MC and slam poet whose style isn't terribly dissimilar to that of his long-time friend. Fallen House, Sunken City is Dolan's second full-length for Strange Famous, and it's full of the sociopolitical themes (if often in quick blasts or asides) and contentious delivery for which he's known.

In addition to some seemingly personal lyrics, Dolan takes passing shots at big business, taxation, the pharmaceutical industry, the concept of ownership of natural resources, the Israeli razing of Palestinian developments, and, among many other things, the so-called New World Order — dropping clips of Dick Cheney and George H.W. Bush in "The Reptilian Agenda."  On top of Dolan's socially conscious rhymes, A-list production by Alias makes this one of the year's top hip-hop releases.

Archie Bronson Outfit: Coconut (Domino, 3/2/10)

Archie Bronson Outfit: "Shark's Tooth"
Archie Bronson Outfit: "Shark's Tooth"

With its warbled vocals and driving percussion, British psych-rock trio Archie Bronson Outfit is like a more adventurous Wolf Parade — as comfortable burning up the dance floor with clean, bouncy riffs as it is turning up the reverb and rocking in a garage.

Coconut is the band's first LP in nearly four years, and it kicks off with a crunchy, swirling guitar line and a hypnotic bongo-laden beat. Produced by DFA's Tim Goldsworthy, Coconut gets spaced-out and drone-like at times, but it always offers a hint of pop accessibility amidst the static and haze.

Francis performed acoustic versions of his “Hell of A Year” and “The Best of Times” for listeners; the latter is from Li(f)e, which was released on May 11 on Anti-.  The album features album artwork by Shepard Fairey, best known for his “Obey Giant” street art and Obama “Hope” poster, and it tackles the subjects of cultural hypocrisy and organized religion.

Hans Zimmer: Inception soundtrack (Warner Bros.)

As you likely know from dozens of trailers, Inception is the latest film from Christopher Nolan, best known for directing the new Batman movies but beloved for his mind-twisting thrillers Memento and The Prestige.

Ranking 72nd on the Telegraph’s list of 100 living geniuses, German composer Hans Zimmer is a Grammy-winning soundtrack maven. And though blockbuster scores often all blend together with the same soaring, emotive motifs, Zimmer’s talents are unique, and his material for Inception stands out amid the typical Hollywood fare.

The music here is dramatic and eerie — as one would expect for a dream-based, mind-bending movie — but its range is more dynamic, making use of Zimmer’s penchant for electronics.

Tracks such as “Mombasa” (heard below), percussive and built around synthesizers, sound modern but also inspired by classic scores from the ’70s and ’80s. Ominous strings and synths swell in the background, but the pounding foreground keeps the focus with PVC-ish banging and a pulsing rhythm.

To coincide with the film’s LA premiere and the score’s release, Zimmer is performing the music with guitarist Johnny Marr (The Smiths, Modest Mouse) and a 20-piece orchestra. If you can’t make it, stream the performance here.

Or if you’d like the studio version, stream the whole soundtrack here — and walk into the movie feeling like you’ve dreamt it already.

Hans Zimmer: “Mombasa”
Hans Zimmer: "Mombasa"

Gifts from Enola: s/t (The Mylene Sheath)

Coming just a year after its last full-length, the new self-titled release from Gifts from Enola is surprising in the maturation that it reflects over a short course of time.

From Fathoms, the band’s 2009 release, was an interesting blend of instrumental post-rock and shoe-gaze influences, with echo-delayed palm muting leading into swirling effects and aggressive, mid-tempo rock riffs. This latest full-length maintains those attributes, but it sounds like an entirely different band thanks to one key element: power.

Much of this might be due to the addition of of Jud Mason on drums, and his potent kit sounds are a major factor. But the band also succeeds here with newly down-tuned guitars, righteous atmospherics, and focus. Each tune has its own direction, and though the diversity of previous efforts was a perk, Gifts from Enola shines thanks to solidarity.

Gifts from Enola: “Lionized”

So Percussion & Matmos: Treasure State (Cantaloupe)

Experimental electronic duo Matmos is a noted contemporary practitioner of musique concrète, a cut-and-paste art form that channels existing sounds into new and surprising pieces. The duo differs from its forebears, however, by welcoming listeners into its world via techno beats and dance rhythms.

And despite delving into what seems like a juxtaposition to electronic music, Matmos uses Treasure State to team with So Percussion, a Brooklyn quartet that brings to life the works of contemporary composers like David Lang, Iannis Xenakis, and John Cage.

“Needles” uses an electrified cactus to pluck sharp notes that are simultaneously melodic and rhythmic. “Cross” most obviously bears Matmos’ stamp; it’s a wheezing, thumping piece, screeching a collage of noise and sound effects that tear up and re-purpose So Percussion’s instruments.

Other physical objects — ceramics and metal — are explored elsewhere, and acoustic instruments play a substantial role on a number of tracks. The pairing sounds natural, and it’s surprising that it didn’t happen sooner.

So Percussion & Matmos: “Treasure”
So Percussion & Matmos: \"Treasure\"

Calibro 35: Ritornano Quelli Di… (Nublu / Ghost)

Formed to recreate the funky and creepy Italian soundtracks of the 1970s, Milan’s Calibro 35 has evolved into something much more, creating original pieces that rival some of their inspirations in range and “jam kicking.”

To accomplish this feat on just the band’s second album, recording engineer Tommaso Colliva (Muse) again assembled a murderer’s row of funk players, banging out no-nonsense shit that also calls upon moodiness and off-the-wall effects. Wah pedals, organs, horns, and bass grooves lay the foundation, but lap steel, guitar fuzz, and a stray xylophone provide the decoration.

Now, having played at ethnically inspired New York club Nublu last year, Calibro 35 is getting some exposure in the USA, thanks to the venue’s record label of the same name. If they cross the Atlantic again soon, don’t miss ‘em.

Honorable Mentions

Angel Eyes: Midwestern (The Mylene Sheath)

Autechre: Move of Ten (Warp)

Canvas Solaris: Irradiance (Sensory)

Danger Mouse & Sparklehorse: Dark Night of the Soul (Lex / Capitol)

Devotionals: s/t (Alive)

Glenn Branca: Symphony No. 3 (Gloria) [reissue] (Atavistic)

Grasscut: 1 Inch / ½ Mile (Ninja Tune)

Mad Sin: Burn and Rise (People Like You)

Melvins / Isis split 12″ (Hydra Head)

Nox Aurea: Ascending in Triumph (Napalm)

Quantic Presenta Flowering Inferno: Dog with a Rope (Tru Thoughts)

School of Seven Bells: Disconnect from Desire (Vagrant)

Sun Kil Moon: Admiral Fell Promises (Caldo Verde)

Torche / Boris: Chapter Ahead Being Fake split 10″ (Hydra Head)

Zoroaster: Matador (E1)

Paul "Sage" Francis has built a career out of going against the grain, tackling thorny sociopolitical issues while embracing the limelight of poetry slams and rap battles. His idiosyncratic style garnered him underground buzz well before his Anticon debut in 2002.

Following two more acclaimed albums on Epitaph in 2005 and '07, Francis has delivered the most adventurous album of his career. Li(f)e is a collaboration with a dozen different singer-songwriter and acoustic-music types, finding Francis at his most personal over styles that aren't necessarily conducive to rappers.

Folk, country, western, indie rock, and more — it's all delivered via big names such as Calexico, DeVotchKa, Califone, Tim Fite, ex-Grandaddy frontman Jason Lytle, Chris Walla of Death Cab for Cutie, Mark Linkous of Sparklehorse, and producer Brian Deck (Modest Mouse, Iron & Wine).

A few moments seem like odd fits, but by and large, Francis' style adapts well to his surroundings. He's at his most poetic, trading between spoken-word confessions and rapid-fire rhymes while building to the occasional eruption.

For Li(f)e, Francis sought singer-songwriters who hadn't worked with rappers, and the results are commendable. Though some pieces were essentially leftover tracks by collaborators, Francis overlays his words with care and works with the dynamics of each track.

"Diamonds and Pearls" with DeVotchKa is one of the best on the album, featuring Tom Hagerman's dancing neoclassical violin lines as well as ghostly backing vocals by Nick Urata and Jeanie Schroder. "The Best of Times" with French composer Yann Tiersen, however, is the album's single, and as its closer, it serves as an apt summary of the album's adventures.

Ultimately, fans may be divided on Li(f)e, but no matter how you feel, it's certain to be a watershed album in an already uncommon career.

Sage Francis: "The Best of Times"
Sage Francis: \"The Best of Times\"

Zs: New Slaves (The Social Registry)

Name any sort of "out there" genre and it likely applies to Zs, a Brooklyn quartet that puts the experiment in experimental. Avant garde, free jazz, no wave, noise — these guys have covered it all, generally with impenetrable rhythms and piercing effects.

Released less than a year after the six-song Music of the Modern White LP, New Slaves may be the group's noisiest but most direct effort. Despite its impregnable qualities, the album possesses a generally hypnotic characteristic, as improvised electronic sounds coat looping beats for a transfixing effect.

True to form, the album is very percussive and very noisy, best described by The Social Registry as "a clanging mishmash of industrial raga," recalling the trance-inducing, non-diatonic elements of Indian music on top of tribal beats.

Those who don't enjoy improvisational or "out" music will skip right over New Slaves, which tosses a 20-minute noise jam after five relatively "short" tracks. But fans of Steve Reich or Terry Riley-esque minimalism may dig a track such as "Masonry," which recalls a rain forest with its über-reverberated xylophone runs over distant thuds and super-speedy humming-bird percussions.

Zs: "Acres of Skin"
Zs: \"Acres of Skin\"

Holy Fuck: Latin (Young Turks / Beggars Group)

Once listeners realized that Holy Fuck didn't sound quite like its name might suggest — with hip-hop beats and electronics instead of screams and blast beats — this "rock-tronica" group caught on in a hurry.

Now, after two essentially eponymous albums, Latin settles the band on a "permanent" lineup. Its touring rhythm section, now a pair of regulars, provides organic break beats and bass grooves for the fuzzy keyboards and hazy and alien effects of Brian Borcherdt and Graham Walsh.

Latin isn't terribly dissimilar to Holy Fuck's first two albums, but it doesn't need to be. There are enough different sounds and enough instrumental interplay to engage listeners, old and new alike.

Honorable Mentions

Marco Benevento: Between the Needles & Nightfall (The Royal Potato Family)

Howl: Full Of Hell (Relapse)

Misery Index: Heirs To Thievery (Relapse)

River City Extension: The Unmistakable Man (XOXO)

US Christmas, Harvestman, and Minsk: The Hawkwind Triad (Neurot)

Various artists: Egypt Noir (Piranha)

Sage Francis

Sage Francis' new album features Brian Deck (Modest Mouse, Iron and Wine), Jim Becker and Tim Rutili (Califone), and songwriting by Jason Lytle (Grandaddy), Chris Walla (Death Cab for Cutie), Tim Fite, and members of Calexico, DeVotchKa, and Sparklehorse.

"We specifically sought out songwriters who had never worked with a rapper," Francis explains.

The record's title Li(f)e is a deliberate amalgamation of the words life and lie. As Francis says, "What about life is a lie? What we're told about God is a lie. What we're told about race, gender roles, beauty, war, food, drugs, sexuality, capitalism, history, the nature of humankind…a gang of lies. I feel it in my gut, I think it in my brain, I write it with my hands and I speak it with my mouth. That's what makes Li(f)e the general theme of this album."

Though the case can be made for the detractions of continued corporate sponsorship and a focus on "Kidzapalooza," the all-too-radio-friendly three-day festival mostly suffers from a predominantly average lineup. That was certainly the case on Friday, when uninspired acts such as Silversun Pickups, The Rapture, The Black Keys, Electric Six, Sparklehorse, and Satellite Party were scattered about an eleven-hour schedule.

Even festival organizer Perry Farrell, whose mid-day press conference spoke of the strength of coummunity, the advantage of blogging, and the event's carbon neutrality, couldn't change the lackluster nature of Satellite Party, his newest band, by opening with a cover of Jane's Addiction's "Stop," one of his most popular works.

Thankfully, a number of the other performers were watchable or slightly enjoyable. Ted Leo and the Pharmacists got the afternoon going with some rousing power pop and a closer lamenting the Central Intelligence Agency; protest punks Against Me!, led by the throaty, piercing vocals of singer/guitarist Tom Gabel (shown left), continued as one of the day's only other voices of dissent.

Alt-experimenters Blonde Redhead, one of the lineup's biggest throwbacks to '90s-style indie rock and not too dissimilar in sound to Sonic Youth, mesmerized concertgoers with delayed clean-channel guitar, dirty rock riffs, sampled drums, sequencers, and the whispy, near-falsetto vocals of multi-instrumentalist Kazu Makino (left of image).

Multi-ethnic rapper M.I.A. (shown left) earlier offered up hot beats and mild gyration, although her act and vocal style quickly grew tiresome. Sadly, the highlight of her party-flavored set was when she climbed a riser during the penultimate song and dropped lines atop a large speaker.

However, Kuti (below) and his backing band, The Positive Force, acted as one of Friday's saving graces. Clad in matching green and purple outfits, The Positive Force provided a forceful backdrop for Kuti to rock harder than anyone else on the bill.

Between funky, succinct bursts of brass and traditional African rhythms, the Nigerian musician fired up the crowd with frenzied eruptions of organ, saxophone, encouraging lyrics, and spinning, kicking dance moves.

Earlier in the afternoon, the dozens of performers from The Polyphonic Spree appeared to crave heat stroke while all dressed in matching black attire. With singer Tim DeLaughter at the forefront, the small orchestra inundated its audience with triumphant, typically distortion-free, über-heavy pop in support of recent album The Fragile Army.

The group, which flaunts a flautist, harpist, and two drummers among its mammoth roster, then switched into white robes for an encore that included a massively layered rendition of "Lithium" by Nirvana.

At the end of the evening, famous electronica duo Daft Punk dazzled dance fans with the same fantastic stage setup it has used at festivals in recent years. Though the outdoor venue was less conducive to getting down than a club setting, the ever-changing pyramid of lights in which the two played was a site to behold.

- Scott Morrow

Photo credits: Tanya van Kampen