Tired of hearing celebrities of various stripes and flavors smoothly spout the same old safe platitudes? Weary of reading the traditional banalities filling the typical interviews with popular actresses, famed athletes, or the trendy band du jour? Well, have no fear - there are a few people out there who aren’t afraid to speak out loud exactly what they’re thinking in the deepest recesses of their hearts. One of them happens to be Jess Marquis, the lead singer of the NYC-based band Pratique. Fresh on the heels of their newly released debut EP, Death for Blushing Rogue, I had a chance to speak with Jess regarding the past, present, and future of his band, and thus view the state of the music industry through his eyes and ears.
AMPLIFIER - Tell me a bit about the folks that make up Pratique. What bands have you each been a part of in the past? What are your influences as individuals and as a group?
Marquis - All honest and great art is never really finished or completed; it's merely abandoned for the time being. With that philosophy in tow, Pratique itself is the reincarnation of several projects before it. Thankfully, the range of talent in the band is greater than it's ever been, and the songs have only gotten stronger, more dynamic, and even dangerous. We've all been in previous bands, with varied degrees of success (our bass player in particular plays with the phenomenal Depreciation Guild), but Pratique is the first time we've all managed to take the seemingly ordinary notion of the four-piece rock band, and turn it into something extraordinary. I'm still overcome with intense feeling when I sing "Death for Blushing Rogue", and to witness an audience's reaction is thrilling.
As for influences, the range of musical history that manifests itself in the song writing is staggering! Keen ears will notice everything from the best of pop, like Tears for Fears or Stevie Wonder, right along side the most endearing sounds from the subculture of post-punk, such as The Chameleons or New Order.
What's the best part about being an up-&-coming band in NYC? What's the worst part about trying to make it in NYC?
New York City is rampant with criminal romances, strange infatuations, and twisted geniuses whose passions border on the perverted. I'm fallen head over heels in love in the confines of a bathroom stall, found honesty and friendship in the seediest of places, and have even had my politics, loyalty, and morality put on trial after watching fierce explosions in downtown Manhattan. My point is that this town never lacks inspiration, and all I need to do to come up with material is stumble outside my front door. Whether I play the role of curious voyeur, or what's more likely, get swept up in the happenings myself, I can't help but be affected.
But every relationship has a sour side, and New York can certainly be exhausting. I truly believe that if it weren't for the cathartic outlet of Pratique, I'd be strapped up and locked away for fear of hurting myself, or worse, others.
Describe the current state of music in NYC. What does the indie scene look like? How different is it from the mainstream scene?
Thank god Pratique exists, because the current state of music in NYC is totally misguided and irrelevant right now. I can excuse bad decisions, if done boldly, but there is no excuse for mediocrity and irrelevance. The scene right now seems divided between cheap, useless novelty club acts, and touching, but ultimately shy, indie bands from Williamsburg. I feel the best and smartest people are usually very complex, and we don't see why we should be forced to choose between these two camps. That's what makes "Death for Blushing Rogue" such an anthem for people. The subject matter, a reflection on a relationship that was eventually doomed by a drug overdose, it brazenly sensitive and touching, but at the same time, if you can't dance to that wicked bass line, you need to have your hips examined.
Furthermore, it would be nice to have a New York band breakout without the help of a trust fund. I can tell you right now that I live in a tiny shoebox apartment with no kitchen. (That's right... no kitchen.) I've never lived in a towering apartment complex above a Virgin Megastore like Karen O of the Yeah Yeah Yeahs, and my parents have certainly never owned a modeling agency, as is the case with The Strokes' Juilan Cassablanca's father. I'm not saying this context belittles their songs, but I am saying any frustration or desperation you read into Pratique songs is genuine and heartfelt. I suffer, therefore I am.
Describe a Pratique show. What does that look like? What kinds of folks frequent your sets? How often does Pratique play shows?
As of now, we've only played four shows! The response has been overwhelming, which I expected, not because we're arrogant pricks, but because there is so obviously a need for what we're doing. We've been focusing all our energy on recording more material, and handpicking select shows to showcase it at. We really do believe in indie rock, we really do get excited about music, and we really are fans of other bands. Have you heard Blacklist, Pterodactyl, or Hooray for Earth? If you haven't yet, hunt them down now!
What other projects do you have planned past the current Death For Blushing Rogue EP? When might a full-length be dropping?
Everyone is screaming about the volatile nature of the music industry, but I for one am excited to see where it leads. I suspect we'll be resorting to the business model of the 1950s and 1960s, where bands were less obsessed with full-length records, and more ambitious about the occasional single and b-side. In an atmosphere where people are downloading music for free anyway, why not give them an exciting new song to look forward to every three months, instead of spending loads of money making a promotional fuss about an upcoming record that is inevitably downloaded in 10 minutes? Furthermore, by reverting back to releasing singles only, bands would be forced to really curate a charming or clever song every time, and thereby remove the "filler" from their repertoire. Imagine how much more bearable The Killer's debut might have been if you didn't have to skip tracks 3, 6, 7, 9, 10, and 11 every time you listened to it!
-- Adam P. Newton
Photo: Danielle Ezzo
http://www.myspace.com/pratiquemusique
