The Motor Trade Soar On Latest Rollercoaster EP ‘Sometimes’

To many people, a night at a gig may entail nothing more than a little boogie and a cheeky drink with some pals you vow to see more often as you part ways to catch the last bus home. What those punters often fail to notice is the endless stream of technicians, roadies and drivers that go into keeping the live shows rolling from one town to the next. The Motor Trade is the creative output of lead singer and songwriter Del Carter, who in a previous life was one such driver. 

After wheeling around a who’s who of musical stars, from Madness and Miles Kane to Sinead O’Connor, Carter decided to turn his eyes to the profession of his previous employers and did so with some surprisingly exciting results.   

Creating his music with the help of co-producer and guitarist Tom Livemore alongside Drummer and mixer Tim Trotter, the former chauffeur to the stars has released 3 EP’s, with the latest - ‘Sometimes’ – undoubtedly being his best.   

Opener ‘Trouble’ kicks off the latest effort with pounding drums, a driving fuzzy bass line and noughties-inspired indie guitar licks. “I didn’t know how cruel love could be” swoons, Carter, in a delivery oozing with swagger before a surprisingly airy chorus adds an exotic development to a song that may have passed as simple indie disco filler without it.  

The inspired ‘We Are Floating’ follows as the standout track from the EP. The aggressive yet sparse piano intro transport you seamlessly into the opening scene of a Stanley Kubrick classic as Carter’s vocal delivery, which has morphed into that of a crooner in a sleazy New York dive bar, accompanies you through whatever crazy picture the song plants into your brain. ‘We are Floating’ clearly gets its inspiration from the glam rock of the 1970s', yet it’s good as anything prime space-race David Bowie or Elton John produced. With its both large yet minimal sound, the song develops more twists with each listen, and you should be listening a lot.  

The punk and snarl of Carter is back on ‘It’s a Mystery’ as once again he’s joined by urgent drums and fuzzy guitars, whilst closer ‘Monster’ is an anthemic and poignant closer to ‘Sometimes’. “I’ve turned into a monster and I’m coming after you” is Carter’s parting shot on the anfractuous four-track EP. If his music continues to develop and excite, then I say let him come.  

James Ogden 

Image: ‘Sometimes’ Official EP Cover