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As the brains behind one-woman band Tracy + the Plastics, Olympia, Wash.-based performance artist Wynne Greenwood is in danger of developing an identity complex: Onstage, she assumes the role of her sneering alter ego, Tracy, the Queerion (“the one you take home to mother”). “Tracy means front in some language,” she says. “When people call ‘Tracy!’ it’s a call to the front…I’m a frontman.” As Tracy, Greenwood spits, shouts, and shrieks her way through a cut-and-paste code of queer imagery and feminist politics that sends the art-posed disaffected clamoring to call it brilliant. Providing two-dimensional backup are video-projected images of Greenwood as Nikki Romanos, the knee-slapping highbrow artiste, and Cola, the knuckle-biting political activist. When they’re not arguing with each other, the three sides of Greenwood’s fractured personality belt out lo-fi drum machine and distorted keyboard anthems from Tracy’s debut full-length, Muscler’s Guide to Videotronics. On a side note: Tracy + the Plastics know “it sucks to be dead,” and their brand of stark, electro-dance rock is cold enough to keep even the flat-footed, zombie-eyed crowds of D.C. dancing, if only for heat. Stop hiding under the bed and see them perform with San Francisco’s No Wave femme-punk four-piece Erase Errata at 9 p.m. Wednesday, April 10, at the Black Cat’s Backstage, 1811 14th St. NW. $5. (202) 667-7960. (Matthew Borlik)