The title of The DSM IV’s new EP suggests that we should brace ourselves for a deep dive into a parallel world of pain. But before we submerge ourselves, first a bit of history: frontman Guy McKnight was in Brighton psychobilly band The Eighties Matchbox B-Line Disaster. At a time when the country was drowning in landfill indie, The Eighties sought sanctuary on their own musical island and tried their best to entice impressionable kooks and pigeon detectives. Fast forward to 2018: DSM drummer and Lupin lookalike Pav Cummins is looking for trousers in Liverpool and befriends McKnight and guitarist Jade O. A band is formed. A band that has since supported the likes of The Libertines and Sleaford Mods.
Simon Reynolds described post-punk goths Killing Joke as ‘a death-disco Black Sabbath’, and it wouldn’t be mere laziness to say the same of The DSM IV. First track on Negative Utopia, ‘Pink Lady’, begins with early 80s drum machine, synths and cavernous guitar. McKnight becomes increasingly agitated and yells to heaven “can you hear us?” so loudly that angels will be praying for noise-cancelling headphones.
‘Pray Like A Fool’ asks “are you living or just paranoid?” and “how they living down in Palestine?” You won’t find such powerful expressions of empathy and helplessness in the mainstream media. ‘Wise Guy’ is a slight reprieve from acknowledging the horror of genocide and its vicarious trauma – it’s skittering and unsettling, and the guitar could have been snipped from The Holy Bible by the Manics.
‘Racist Man’ is a remix of The DSM IV’s debut single. “There’s a racist man at the centre of the universe / In a big white hood with cut-out eyes” goes the terrifying warning, which allied to a kick drum and Orbital flourishes makes ‘Racist Man’ a big daft dancefloor filler. Listen out for the thrilling step change two thirds in, when the introduction of a snare drum is an invitation for the festival crowd to flail their limbs as if they’re repelled by their sockets.
Cosplaying as Joy Division contains all sorts of occupational hazards, such as the risk of withering yet ultimately harmless comments by jealous journalists. However, there’s no getting away from the fact that The DSM IV’s cover of ‘Isolation’ is an outstanding replica. Its place on Negative Utopia makes absolute sense as a tribute and continuation of the EP’s exploration of mental turbulence.
Final track ‘Pennywise’ is a Hologram Cowboy remix that slows the original track so much that McKnight is transformed into a Barry White god in mourning. The reimagining of the track as vaporwave shouldn’t be dismissed as throwaway though – the processional drums and layered guitars ensure that it’s truly grand instead of casually bland.
Negative Utopia could be the background to a documentary about the collapse of communist regimes. It could be playing as you weave your way through a Berlin club while hunched musos mutter their judgements. It should be on your Walkman or whatever technology you see fit to use.
Negative Utopia is out now via 9×9 Records.
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Review by Neil Laurenson
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