We All Have Hooks for Hands, the Ironclads, Doctor Doctor

(Neumos) The Ironclads didn't break up! Back in August, the raucous rock band played what would end up being their last show for a while, but they promised to return after a few months of hibernation—thankfully. I was just starting to get into the band, and few things in life are more annoying than when bands decide to break up before you've had the chance to see them live. Amiright? So tonight, let's make up for lost time—we'll rush the stage and throw our fists in the air for their battle cry "Cape Canaveral," we'll drink and sway for the heartbroken "Alamagordo," and then, if all goes well, they'll play the slow, romantic- sounding "Maps by the Yeah Yeah Yeahs," which you shouldn't mistake for a cover of "Maps" by Yeah Yeah Yeahs, because then you'd be very confused. MEGAN SELING

Kid Cudi, Mad Rad, Fresh Espresso

(Showbox Sodo) In the world of KUBE 93 hiphop, Kid Cudi is a titan, with hits that stand up to KUBE-style saturation rotation better than many of his peers. (Case in point: the odious Flo Rida, whose hits are invariably based on hooks that make one envy the deaf.) By comparison, Kid Cudi's hits are aesthetic masterworks: The lithe, stripped-down "Day 'n' Nite" has spent a year in high rotation and still sounds fresh, while the Lady Gaga— sampling "Make Her Say" (which makes a crass joke out of Gaga's comparatively subtle one) is a delicious slice of candy hip-pop. Touring in support of his Kanye-endorsed debut, Man on the Moon: End of Day, the Cudder performs tonight at Showbox Sodo. DAVID SCHMADER

Bastard Noise, Iron Lung, Same-Sex Dictator, Requin

(Vera) Noise was always a crucial component to the output of dual-bass power-violence originators Man Is the Bastard, with the higher frequencies normally occupied by guitar often replaced by layers of oscillated tones. Even though the jazz/grind/sludge ensemble ceased churning out their punishment at the tail end of the '90s, their experimental alter ego Bastard Noise continue to unleash their blasts of chirping blips, crushing dissonance, and earache-inducing pitch modulations. Considering that Man Is the Bastard openly asserted their quest to create the most unpleasant music possible, it makes sense that they surrendered their more accessible incarnation to dedicate their resources toward violent musical abstractions. There's no shortage of noiseniks rattling the walls of warehouses these days, but the Bastard were ahead of the curve. BRIAN COOK