EXPERIMENTS IN SOUND AND VIDEO
DIRTY CHURCHES performs dark and hypnotizing live soundtracks for multi media art installations. In 2003 Jesse Gelaznik formed Dirty Churches with Joe Robinson, Alex Beard and John Delassi. The early Dirty Churches performances consisted of improv noise sets with projections. In 2005 Dirty Churches began performing live sound tracks to Rachel Blackwell’s video art projections. And in 2006 Jesse began writing conceptual scores for Dirty Churches performances and recordings, which included the track Eat Birth, which was recorded for a noise comp titled Getting rid of the Glue on Pendu Sound. In 2009, Dirty Churches performed a live score for Rachel Blackwell’s video pieces Yes! Witches, Rituals and Meditations on Death during the NY Eye and Ear Fest II at the 92Y in Tribeca. In 2011 Dirty Churches arranged music for video art by Rachel Blackwell for a performance at Diverse Works in Houston, TX. In 2013 Jesse and Rachel created the architectural video installation A Guest in the Cavern for the Northside Town Hall Cultural Center’s 2013 Arts Happening series. This installation was an in depth collaboration between Rachel, Jesse and the writer and artist Natalee Cayton. This show also included the musicians Elizabeth Pulos, Anna Callner, Alphra Martini, Justin Miller, Robert Boston, Eric Elterman, Joe Robinson, Donnie Undeen, and Daniel Garcia.
The collaboration between Jesse’s musical compositions and Rachel’s video became a driving force in the evolution of Dirty Churches. The couple alternately starts from the music or the image to develop themed visions. Within this process Rachel and Jesse exchange and refine ideas, footage, recordings and the various physical components of the installation. Some of these components include hand painted masks, fabric, wigs, makeup, drawings of movement, and installation layout designs. Then a representative action is created to embody the idea. This dramatic ritual action, along with the musical composition and projections, create an insinuated alternate reality. This spectacle affects the viewer like a barely remembered dream. The music is composed by Jesse to fit the mood of the projections. The video projections are used to establish setting and insinuate an altered realty, as if remembered from a dream. By combining musical composition with experimental sounds, Dirty Churches creates sonic environments of haunting textures and ethereal energy.