To put it in colloquial terms, Ratty Scurvics is Vince Vance’s boy, though we won’t dwell on his local lineage too much, since Ratty, who otherwise shares his father’s love of outrageousness, has gone out of his way to establish his own identity.

Hard to imagine Vince producing songs for a hip-hop album (Nikka B.), or being a constant presence on the Crescent City’s theater stages, or commuting back and forth between genres as only the son of a road rat can. The triumph of tech has made it easy for him to wander. He’s created what seems like roughly two thousand different audio projects over the past decade, most with unique “band” names, as you do these days, and these latest two are only different in that one is instrumental and one is not.

As usual, Scurvics suckers you in, opening both albums with ideas that almost seem commercial. The fifteen instrumentals on Posterity Stares at Me, all of which are numbered and quite correctly labeled as “Incidents,” come on at first like the Polyphonic Spree, with tribal drums and psych-fuzz guitar, but soon devolve into full-on freakouts: ambient synths, white-noise sculptures, free-jazz piano. At its most chaotic, it feels like a smoke lodge vision, at its most rhythmic like the tempered anarchy of Ratty in his old MC Tracheotomy days. (Ah, the memories.)

Deathchildren, ostensibly a solo but with the words “words by Mac Taylor” prominent on the cover, begins like prime side-one Bowie from his Berlin period but immediately lurches into brief musique concrete pastiches, dark-carnival cabaret, spoken-word drones, and the kind of noise rock that got him on Gibby Haynes’ radar a few years ago.

None of this is designed to add up to anything unless you’re Ratty himself. But if you’re gonna risk being bored, better to do it with an eight-minute acoustic epic called, with a straight face, “Damned Is the Night.” No tourist would ever buy this shit, and thank God.