On their latest release, the double album Church Gone Wild/Chirpin Hard (Suicide Squeeze), the two members of Hella went their separate ways, each writing and recording his own disc — yes, spazzcore outcasts now have their own Speakerboxx/The Love Below — while in the process deconstructing the idiosyncratic tangents of rhythm, riff, and noise that have made them darlings of the Lightning Bolt set. Drummer Zach Hill’s disc reflects his busy schedule: a polymath who skips from insurgent metal to free jazz to avant hip-hop, he’s recorded with Nels Cline, the Anticon collective, and the Deftones side project Team Sleep (whose long-delayed album is finally coming out May 10). On the other disc, guitarist Spencer Seim brought leftover eight-bit punk and video-game synths from his Nintendocore outfit the Advantage. Now signed to Mike Patton’s Ipecac roster, Hella have added a bassist and a second guitarist/keyboardist for a headlining tour with NYC’s Out Hud, who’ve just released their own new album, Let Us Never Speak of It Again (Kranky). Although Out Hud share three members with !!!, their debut shared almost none of that band’s belligerent, block-party zeal. But the new disc is an abrupt about-face, replacing free-form extended-mix tangents with focused, digitized dance-floor workouts where minimalist electro pulses vamp into flamboyant proto-house flourishes. And a pair of vocal turns by Molly Schnick and Phyllis Forbes make the throbbing singles soar. It’s as if Stereolab had got time-warped back to a Detroit warehouse circa 1987. Out Hud and Hella play T.T. the Bear’s Place (617-492-BEAR) in Cambridge on Wednesday and the Living Room (401-521-5200) in Providence next Thursday, April 7.

Never underestimate the restorative appeal of boy-girl harmonies. On their own, the members of the folk supergroup Redbird — Kris Delmhorst, Jeffrey Foucault, and Peter Mulvey — are just three more names on a coffeehouse flyer. But emboldened by one another’s company, the trio stripped down to bare essentials and went skinny-dipping in a pool of gems including "Patience" by Mark Sandman’s little-known Pale Brothers, the early-R.E.M. nugget "You Are the Everything," and Willie Nelson’s "I Gotta Get Drunk." Recorded with a single microphone in a three-day binge, Redbird (Signature Sounds) isn’t transcendent, it’s merely equal to the sum of its parts — and in this case, that’s plenty. The group play the National Heritage Museum (781-861-6559) in Lexington on Friday.