This is a past event.

Carter Tutti, John Elliot's Outer Space, Hieroglyphic Being, Scary Lady Sarah 

When: Thu., Jan. 9, 9 p.m. 2014
Price: $21
Until the turn of the millennium, the duo now calling itself Carter Tutti was known as Chris & Cosey, and nomenclature aside it’s been the most stable unit to emerge from the maelstrom of Throbbing Gristle. The same two people—Chris Carter and Cosey Fanni Tutti—have in fact performed under several names, including CTI and Conspiracy International. For more than 30 years, they’ve had pride of place in industrial and metaphysical electronica, collaborating with a wide variety of artists and occasionally coming back to flirt with old Throbbing Gristle compatriots Genesis Breyer P-Orridge and Peter “Sleazy” Christopherson (who was also one of the pillars of Coil). For this show, they’ll be playing “Chris & Cosey”—that is to say, a selection of their greatest 80s cult hits. That should be great, but I rather envy the New York audience—it gets to hear a live remix of the 2012 double album Desertshore/The Final Report, which Carter Tutti and Christopherson recorded as X-TG shortly before the latter died suddenly in 2010. The project began as a Throbbing Gristle reunion and became X-TG when P-Orridge withdrew; to fill his spot, the group enlisted a variety of guest vocalists, including Marc Almond and Blixa Bargeld. Half a full-album cover of Nico’s bone-chilling 1970 album Desertshore and half a collection of new original work, it shows Carter and Tutti as artists still at or near the peak of their creative powers, not weighted down by nostalgia. —Monica Kendrick

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.


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