Super Secret Records’ long and loyal run of local vinyl continues unabated on a second 7-inch by Ichi Ni San Shi. Named for a Kraftwerk uptick, Bill Jeffery’s Casio keyboard caper unwinds Krautrock as a lithe fivepiece aiding the frontman’s non-Auto-Tuned good humor (“Here Sometime Today”). The Boxing Lesson punches up four songs on two 7-inches for Detroit imprint New Fortune, Austin duo Paul Waclawsky and Jaylinn Davidson living up to the artwork: a Mayan temple among the moons of Saturn. “Darker Side of the Moog” sets a space pace – four songs totaling almost 24 minutes – ebbing more Wish You Were Here than Dark Side of the Moon. Drum machine aside, burnt flip side “Muerta” and sunspots on “Cassiopeia” arc tightly, closer “Drone To Sleep” floating a soulful machine beat alongside Waclawsky’s David Gilmour-esque vox. Local quartet La Snacks‘ stenciled cardboard double A-side 45, “Christsakes and Milkshakes” b/w “My Little Sugary Friend,” packages a tender morsel of 1990s Southern indie, pronounced riffs and vocals with minimalist rhythm. Robert Segovia’s appealing pathos and his titular mantra on the second track leave a taste for next spring’s LP. A pair of single-sided Monofonus Press 10-inchers leads with Dikes of Holland and Daniel Francis Doyle ponying up a pair of songs apiece, the former boy-girl gang revving its combustive garage élan on “Servant Girl Annihilator,” then ramping down into the spidery crumble-and-run of “My Baby’s Kinda Mean.” One-man wild man DFD unleashes a fiery clamor of punk giddyup, though it’s the extended Ray Davies-like schizoid ramble of “You’re Nowhere” that bags the whole endeavor. Chicago’s Flower Man, the Chris Bush half of Chicago-via-Kentucky electro-glitch duo Caboladies, rewires a clock, a dripping faucet, and a garden waterfall on Inversion Fortuite. Consider its antidote the hardcore beatdown of Cutting Losses‘ eight-song Endless EP on Austin’s Metastasis Records, a camouflage-colored slab of beefy hate and circle-jerk mayhem. An “Island” of rage, this “Anvil” reminds one of what “Choices II” spews: “Never … ever … give a fuck.”

This article appears in December 2 • 2011.

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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.