The DSM IV, formed by Guy McKnight of critically acclaimed cult favourites The Eighties Matchbox B-Line Disaster, along with Jade Ormesher and Patrick Cummins, present a dark sound blending noise-rock, synth-pop, and industrial elements to deliver a unique musical experience. Their powerful soundscapes are cacophonous and epic, featuring rich textures, melodic hooks and thought-provoking lyrics that both entertain and encourage introspection.
After a trio of singles, ‘Racist Man’ (2018), ‘Funland’ (2019) and ‘Killing Your Time’ (2020), The DSM IV dropped their 6-tune ‘Negative Utopia’ EP on 31st January last year, and it was made up of remixes from their 10-track ‘New Age Paranoia’ album as well as some new material. It had swiftly followed on from their ‘Wise Guy’ / ‘Pennywise’ double A-side single which came out just a month before.
Their ‘New Age Paranoia’ album hit the streets on 9th June 2023 and saw the band unveil an impressive collection of stories, beats, guitars and noise, seamlessly weaving together sobering but dream-filled songs that explore the ways in which our collective minds are influenced by mass media, entertainment industries and social media.
On the road, The DSM IV have headlined packed-out rooms across the UK. They have shared stages with the likes of John Cale, Warmduscher, Ladytron, The Wytches and Deadletter. We last caught up with The DSM IV when they headlined The Hope & Ruin in Brighton on 12th June 2024 – You can read that review below.
In the meantime, The DSM IV have announced that they will be playing live in Brighton on Sunday 16th August 2026. The gig will be part of a packed summer seaside soiree at Daltons which is located on the Lower Promenade of Madeira Drive. The event kicks off at 7pm and the seriously stacked lineup features a trio of real quality acts, namely Francis Pig, Jonny Couch, and Solid Pleasure. Advance tickets are priced at £10 and can be purchased HERE.
ADDITIONAL READING:
THE DSM IV – THE HOPE & RUIN, BRIGHTON 12.6.24 (by Graeme Houston)
While the vast majority of Brighton and Hove’s music fans may have been found down at Chalk tonight to watch Goat Girl, a packed out Hope & Ruin shows that there is still much demand to see new, up and coming, bands who one day in the not too distant future could be playing venues that size, if not greater. Promoters ‘Hidden Herd’ have been championing such newer bands for a number of years now putting on gigs at local grass root venues such as The Prince Albert and The Hope and Ruin which is where I find myself this evening to see their latest bill of four exciting emerging talents.
After securing support slots with the likes of the legendary John Cale, Ladytron, Sleaford Mods, The Wytches and Deadletter as well as securing a slot at ‘Mutations Festival’ then it might not be too long until we see tonight’s headliners The DSM IV grace the stage of Chalk when they next come to town.
Fronted by Guy McKnight (vocals) of the critically acclaimed cult favourites The Eighties Matchbox B-Line Disaster along with Jade Ormesher (guitar) and Pavarotti (drum machines and synthesizers) took to the stage for 54 minutes for their nine song set, eight of which were taken from last year’s debut album ‘New Age Paranoia’.
Their sound has been described as post-punk, noise rock, synth-pop, and Industrial and McKnight himself has been quoted as saying that they’re making “making music for the people living in strange times. Nasty and nice. Tunes”.
That’s quite a lot of genres to cover but tonight they cover them all. The lyrics are dark, very dark in places, but the music itself is incredibly uplifting. If I was asked what box I’d fit their sound into then I’d slot it straight into the one marked “brilliant”.
McKnight’s voice is like an instrument in its own right and from the moment he stepped on stage and started handing out his four pack of beer to members of the audience I had a feeling that we might be in for an entertaining time.
Pavarotti, who I was standing right in front of, was driving the beat from the get go, turning those dials and knobs creating that post-punk, synth pop, Industrial backdrop I’d heard all about.
Ormesher turned up with a suitcase full of effect pedals and I swear to God, if she used more than one of them she must have feet quicker than Ronaldo. She didn’t look happy and kept looking at her amp and muttering to McKnight throughout the set but if this is what her guitar sounds like when everything isn’t working 100% then I can’t wait to see them again when it is as I thought it sounded awesome.
