He shipped the tape off to former Girls member and Producer Chet ‘JR’ White who, on hearing ‘Just A Dream’, disagreed with Fraser also. It’s White who is accredited with getting Jesso to where he is today, not unfairly considering it was he who invited Jesso to record with him in San Francisco, and it was White who shopped Jesso’s early, unmarked demos to a number of label heads, including True Panther Sounds’ Dean Bein.
Over the past two years, Jesso has run with the template of ‘Just A Dream’ to produce ‘Goon’, his debut album of rudimentary piano ballads, released this month via True Panther. He never did go back to the guitar, instead embracing the limitations of a new instrument that he’d envied since seeing Cat Power perform ‘I Don’t Blame You’, her ode to Kurt Cobain, on ‘…Letterman’ in 2003. He estimates that he’s currently of a standard around Grade 2.
He’s a lot of fun to talk to, grateful for his newfound, nearly undiscovered appeal, and self-effacing with a smile and warm nudge of your arm. Still, Grade 2 sounds about right when you listen to ‘Goon’’s simple, well struck piano chords and slow-to-mid tempo that Jesso insists is all down to his inadequate skills. Of the particularly hesitant ‘Hollywood’, he attests its notable dead space and heavily pregnant pauses to his trying to remember what chord to hit next. He concedes, too, that slow piano songs will always have trouble sounding anything but sad, and ‘Goon’’s overarching narrative is indeed one of heartache. In ‘Just A Dream’ a new father faces the end of the world; in ‘Hollywood’ Jesso laments his real life broken dreams of the big time; ‘Can’t Stop Thinking About You’, ‘How Could You Babe’, ‘Without You’, ‘Can We Still Be Friends’ – you can guess what they’re about. “But I’m not going to be a sad song artist,” he says. “I don’t want to be that guy.
“It’s more that I gravitate more towards sad chords, because they sound more beautiful. I don’t sit down at a piano when I’m feeling happy – I’m not like, ‘Woo-hoo, today’s a sunny day, I’m going to go down to the beach, but first I’m going to sit down at the piano and write a song about it.’ Sometimes that’ll just come out, but when I land on a good sad song, it just gets me more.”
Jesso likes the way The Beatles did it – a sober ‘Let It Be’ followed by a giddy ‘Lady Madonna’. He just needs to learn how to play quicker to complete the pairing.
In the meantime, his music trades off of an inclusive naivety and an aspirational simplicity, meaning unfussy lyrics like ‘Nothing’s as hard to do, as saying goodbye’ are what they are, and Jesso’s musicality feels attainable. In that sense, ‘Goon’ is a perfect DIY album – a can-do record that allows you to think that you could make one just like it. His voice (homely and as if singing to itself) follows suit, although Jesso is definitely a stronger vocalist than he likes to think. Comparisons to Randy Newman are not unfounded, and Jesso, too, has a natural knack for vocal melodies.
“When I was writing songs on guitar I would never sing along, but when I switched to piano, I think the difference was that I felt like I had lot more support from the piano – I could play these lush chords that could fill out a whole sound a lot more, and my little, crackly vocal that went in the middle of it would just be surrounded by the sound.
“I have such a small range of singing – I can’t go very high and I can’t go very low – and since I have a very limited range I have to find interesting melodies that go in the middle. With guitar, that’s very hard, with piano you can hit a big chord and sing a little melody that goes over six notes – it can sound a lot more interesting. When I found that out I was really excited that the chords could lead the melody.
“Sometimes you’ll play with singers and their voice is everything. They lead everything and you’re just helping them out. I’d say mine is pretty even – the chords and the vocals are as important as each other. I could be a one man band with a piano; I couldn’t with a guitar.”