The members of prolific Cleveland electronic trio Emeralds were all active outside the group when it existed, and since it broke up last year their onslaught of projects has continued apace. John Elliott remains fervently devoted to Emeralds’ neo-kosmische spirit in Outer Space, a name he’s been using for more than five years—in fact, all of Outer Space’s recordings so far date from before Emeralds’ breakup. The most recent, Akashic Record (Events: 1986-1990), released in 2012 on Elliott’s Spectrum Spools label, is a wordless concept album that collides recent events in Ohio with the theosophical notion of “akashic records,” believed to be a mystical compendium of human history past and future. The date and location of a young girl’s kidnapping on October 27, 1989, in Elliot’s native Bay Village provide the title of one especially driving, paranoid-sounding piece. I’ve heard three albums by Outer Space, and all of them toggle between post-Tangerine Dream spaciness and chugging rhythmic tones, with ricocheting beeps and serene washes of synthesizers amid retrofuturistic bursts and hyperactive arpeggios. At first blush the music comes across like a quaint relic of the 70s at their most cosmic, but it collages together too many rhythms, tones, and melodic modes to be anything but a product of the postmodern present. Its bulbous, rubbery sound and reference-rich trippiness get even more expansive and extended in the live setting, where Elliott is usually joined by several of his collaborators from the recordings. —Peter Margasak Carter Tutti headlines; Outer Space, Hieroglyphic Being, and Scary Lady Sarah open.