New Album: The Motet, All Day
New Album: The Motet, All Day with Garrett Sayers on Bass…
Forming over two decades ago, the funk five-piece The Motet have learned to work as an interlocking unit, with each member bolstering one another towards the best creative output. This symbiosis has led to a unique style and cohesive musical chemistry, as seen in the band’s immaculate live performances and seamless blend of funk, soul, jazz, and rock. With a fervent fanbase in tow, The Motet have sold out shows across the nation, including six headlining slots at Red Rocks and sets at festivals such as Bonnaroo, Bottlerock, Electric Forest, Bumbershoot, Summer Camp, and HighSierra.
But even after their 20+ years of accolades and recognition, the legendary outfit – composed of Dave Watts (drums), Joey Porter (keys), Garrett Sayers(bass), DrewSayers (keys and saxophone), and Ryan Jalbert (guitar) – are still exploring new sonic ideas and finding new ways to showcase each other’s skill sets.
Now, The Motet release their 10th studio album, All Day, the group’s first primarily instrumental project since 2009’s electronica-fueled Dig Deep, and a potent showcase of a band still at the peak of their powers.
All Day contains songs written by each of the group’s five members, resulting in an eclectic tracklist threaded by the infectious grooves and immaculate, layered arrangements that The Motet have become known for. But by recentering the listening experience around the playing and composition, All Day emphasizes the band’s instrumental mastery molded by two decades of shared musical chemistry.
Fans got their first taste of All Day with the album’s lead single, “‘79,” a lavish funk and soul epic. With a retro-futurist style, the track takes you into the funky past of the 70s and 80s while fortifying its pastiche with decidedly modern elements. Next was “Draccus,” a hazy, funk-fueled experience with lush sonic details and a powerful message. And then they dropped the album’s Ryan Jalbert-penned final single, “Back Seat,” a groovy, vintage-funk track that takes on a classic D.C. go-go sound.
The rest of All Day’s colorful, diverse presentation is showcased on songs like the album’s title track, a smoky, rhythmic journey, and one of the LP’s four tracks written by keyboardist Joey Porter. With swirling, cacophonous synth pads, staccato backing guitar progressions, sweeping key melodies, and a central section with funky, dance-fueled guitar chords and bass lines, “All Day” is a perfect encapsulation of the album’s immersive, genre-hopping vibe.
There are also tracks like “False Prophets,” an imminently groovy masterclass written by bassist Garrett Sayers. Kicking off with a propulsive drum beat, funky guitars, and 80s-style keyboard licks, the track oscillates between enveloping psychedelia and dancey-rock catharsis imbued with jazz saxophone solos.
The pristine tracklist continues. “Sunshine,” written by drummer Dave Watts, is a vibrant trip through blazing organs and driving rhythms, while “YFJF,” written by keyboardist and saxophonist Drew Sayers, is a spacey, emotive cut with intricate drum syncopation and rich instrumental layers.
All Day is then rounded out by “Evil Twin” (Watts), “Let The Music Play” (Porter), “Can’t Fool Me” (Porter), “Heathen” (G. Sayers) and “Shade” (Watts) – an assortment of tracks that equally represent the LP’s ornate songwriting style and luminescent sonic palette.
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