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Mission of Burma is recording a new album that should be out by summer -- something to look forward to if shows this past weekend at the Brighton Music Hall were any indicator.

It’s been about 30 years since Burma played Allston dives like the Underground and Streets. But a decade into the band’s second (longer) life, the local avant-punk legends sounded as fresh as ever, loose and tight in all the right ways.

On Saturday, Burma wasted no time in pushing the envelope, as Roger Miller unleashed a rippling blast of trumpet in opening nugget “Fun World” before he turned to his guitar. To avoid the tinnitus that forced Burma’s 1983 breakup, he still points his amp into the audience, but he’s dispensed with the industrial earmuffs he first wore on the band’s return.

Across the 80-minute set, Burma seamlessly blended old favorites with four new songs and a smattering from CDs in between. All of it magnified the group’s kinetic, uniquely off-kilter chemistry while avoiding any weak patches.

Miller, his hair longer than at any time in Burma’s tenure, lashed buzzing chords and string-bent squeals over bassist Clint Conley’s meaty yet elastic ballast. And drummer Peter Prescott showed wicked wit, aggressively nailing structure from angular fills and faux-disco rhythms. All three sang and shouted along more than ever, leaving extra fodder for offstage tape-loop manipulator Bob Weston to leave spinning through the PA mix, as he did in a brooding take on “Mica.”

Burma’s last disc, 2009's The Sound The Speed The Light, was a bit of a retrenchment that the group seems poised to surpass with a more experimental, less predictable outing.

Saturday’s inclusion of “13,” a deep track from the band’s stellar 2006 album The Obliterati, seemed a purposeful move. The musicians conjured neo-psychedelic layers with patient pacing, constructing and deconstructing the song’s possibilities. And when the band uncorked a revved-up double shot of Conley's “That’s How I Escaped My Certain Fate” and Miller's “The Ballad of Johnny Burma” near set’s end, it felt like post-punk’s heyday all over again, reborn with the experience of age.