If the Boredoms’ early records were the musical equivalent of attention deficit disorder, their current Super æ (Birdman) could be the result of a semisuccessful course of Ritalin. While they still cherish the jump cut–the title track, for instance, cobbles together churchy organ drones, chanted vocals, a kind of ritualistic voice-and-percussion passage, a bombastic two-chord psychedelic guitar “intro,” and alternatingly thrashing and hydroplaning post-Butthole Surfers mayhem–more often than not on Super æ they develop at least one element over the long haul. “Super Coming” is a shape-shifting opus constructed around a steady vocal line that sounds like something the Fugs might have sung; “Super Going” is an enthralling 12-minute epic that embroiders a seesawing two-chord pattern with a phalanx of guitar effects and euphoric vocal bits that get repeated, dissected, and reconstituted through more electronic trickery. Occasionally there’s a dynamic leap–everything but the vocals drops out, or a sudden tape edit revamps the rhythm–but for the most part the Boredoms manage to sustain each concept all the way through. The new subtlety may seem hard to reconcile with their rampaging-bulldozer live approach (they’re touring with three drummers). But really, the Boredoms are still using the same raw materials–the screaming, the grunting, the quasi-operatic wailing, the sludgy bass, the herky-jerky rhythms, the squalls of pure noise. They’ve just learned to build bigger things out of them. Saturday, 10 PM, Metro, 3730 N. Clark; 773-549-0203. PETER MARGASAK