Sixties disillusion and the Seventies paranoia of Pink Floyd’s The Dark Side of the Moon lurches straight into nuclear winter on Doom Side of the Moon. As executed by three-quarters of local warp riders the Sword and the key to Brown Sabbath, Alex Marrero, all the touchstones remain: an uncanny Gilmour croon aerating “Breathe,” the oscillating sonic collage to “On the Run,” and sax and keys erecting a stairway to “The Great Gig in the Sky.” Then it gets heavy. “Money” erupts into a riot of metallic psych, “Us and Them” flares Use Your Illusion GNR, and “Brain Damage” gets all Wax Trax. Full-on eclipse.

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This article appears in August 18 • 2017.

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San Francisco native Raoul Hernandez crossed the border into Texas on July 2, 1992, and began writing about music for the Chronicle that fall, debuting with an album review of Keith Richards’ Main Offender. By virtue of local show previews – first “Recommendeds,” now calendar picks – his writing’s appeared in almost every issue since 1993.