Many a music fan has remarked that there is something unsettling about Jonathan Seet's music, something that can't quite be articulated. His latest album, Arousal Disasters, is a collection of compelling and emotionally engaging songs; ranging from l [+]Many a music fan has remarked that there is something unsettling about Jonathan Seet's music, something that can't quite be articulated. His latest album, Arousal Disasters, is a collection of compelling and emotionally engaging songs; ranging from lusty rock numbers to understated, down-tempo ballads, the listener cannot help but be captivated by Seet's soaring vocals and sensual lyrics.
Indeed, Seet is first and foremost a poet's songwriter: few artists these days in any genre can match his masterful wordplay, subtle irony, and command of metaphor, synesthesia and paradox. Nevertheless, perhaps his most important tool is that of juxtaposition, which pits delicate melodies and harmonies against the seedier aspects of love. A sort of romantic ambivalence informs Disasters, one suggesting that despite our most honourable intentions, our relationships are doomed to be corrupted by our baser instincts. Critics praised his efforts, describing the "lush and cinematic" album as "filled with perfectly-formed pop symphonies."
Disasters took shape while Seet was promoting his 2000 debut CD, Melatonin, throughout Ontario's bars and nightclubs. This first album, cobbled together in various studios around the city over a year, introduced listeners to Seet's unique ability to straddle the musical boundary between rock and something Canadian Music Network called "a soundtrack to a film that hasn't been made." Though the songs appearing on Melatonin (some of which found their way onto a 2001 documentary about Ontario's Presqu'lle Provincial Park) have singer/songwriter acoustically driven roots, they easily lend themselves to strong rock backbeats and driving bass lines.
During this period the line-up of his supporting band gradually took shape, with Dennis Mohammed (Wild Strawberries) on bass and Rob Greenway (Brilliantfish) taking up drumming duty. Their deft performance and diverse experience helped in realizing new songs written at that time, tracks that would eventually turn into the core of Disasters, the bed tracks of which were recorded over a weekend with engineer Ray Montford (Look People, Andy Stochansky) at his Soundhole Studio. Joining Seet on this album were guest musicians Lisa MacIsaac (Mad Violet) on violin, Tanisha Taitt on backing vocals for "Nas
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