In writing about NoMeansNo, I’ve been charged with describing the indescribable — of describing a true original. To my ears, many of the band’s songs are informed by Frank Zappa’s twisted experiments with rock ‘n’ roll. But NoMeansNo’s (admittedly limited) influences are immaterial in considering the effect they’ve had on today’s music, most notably their indispensable role in creating math rock, the heady style of experimental rock characterized by unorthodox rhythmic structures and rarely used chords. Thirty years ago, NoMeansNo was born out of Victoria, B.C., in a climate of change in the music scene. Everyone was reconsidering what it meant to be in a rock band, reexamining boundaries and deciding how the art form was going to continue in the wake of ‘70s excess.

Of course, being that we’re in the future, we know that rock’s excess didn’t collapse on itself until the ‘90s when grunge, along with the alternative scene, rose up and changed the game. But with us as always was NoMeansNo, continually pushing the envelope, never ceasing to question the formula. In shamefully reductive terms, NoMeansNo plays punk music with strong elements of jazz, metal, and pop. You might call it progressive punk, but even that seems awfully narrow. Like Frank Zappa and later acolytes such as Ween and Primus, there’s a wiseass, prankster streak that runs through the band’s songs. At their simplest, NoMeansNo rocks the fucking house; but more often than not, they tear down the house and rebuild it upside-down.

When NoMeansNo formed, the band consisted of just John Wright on drums, and his brother Rob Wright on bass. “Right off the bat, the bass and the drums both had to do more,” says John Wright. “You don’t have guitar power chords to be a focus or to take the limelight.”

This necessity to generate interest using two instruments that are often overlooked and underappreciated helped shape the band’s complex musical style. The rest stemmed from a strong desire to avoid becoming generic.

“[Our songs] aren’t the sort of typical ‘girl meets boy,’ which is all music is now, I guess,” continues Wright. “They’re more like ‘boy wants girl and masturbates excessively.’”

Eventually, NoMeansNo acquired a guitarist, but the band’s ambition never slowed. The guitar served only to open up new possibilities and allowed NoMeansNo to explore musical terrain not reachable by drum or bass. Over the years, album after album, the band twisted and stretched punk rock nearly to its breaking point (and sometimes past), never seeming satisfied. The albums are virtual grab-bags, bouncing back and forth from contorted experiments to almost radio-ready arena rock.

This isn’t always a great thing, however. It’s easy, with bands like NoMeansNo, to feel at times as though they’re daring you not to like them. The power-pop song that follows the ferocious mind-fuck almost confirms it; NoMeansNo is weeding out the non-believers.

Personally, I enjoy the messiness of it all. With such a wealth of material, even if you hear a failed experiment, frequently there’s a truly great number around the corner.

The point of all this has been simple: NoMeansNo is coming to Hell’s Kitchen. I’ve no doubt this will be one of the year’s best shows. Along with playing hits from a huge catalogue, the band will also be testing out new songs to be released on a series of 12” singles. As great as NoMeansNo sounds on record, the live show is bound to be breathtaking.

“We’ve always taken pride in playing well, and being prepared to play well every night,” says Wright. “It’s kind of like a sports team in that respect. You got to be ready to show up and do it every night.”

How much can you talk up a band before putting people off? I’ve probably reached my limit. Do yourself a favor, though, and allow NoMeansNo to explode your brain. You’ll thank me later.

[Hell’s Kitchen, with The Fucking Eagles, The Speans, and The Plastards, Friday, Nov. 6, 8 p.m., $10, 3829 Sixth Ave., Tacoma, 253.759.6003]