DIZZY MYSTICS

Folk influences are pervasive. Mandolin and acoustic guitar are often given prominence, and the technical skill combined with the tempo can give some echoes of bluegrass at times. There's even the occasional flash of 1980s-Rush-style-vaguest-hint-of-reggae touches.

"Letter" opens the album with a flurry of high-tempo arpeggios and oddly-metered strumming patterns. The rhythmic effect is off-kilter and disorienting, a recurring theme on Wanderlost. "Shindigjig" draws on folk sounds, giving mandolin prominent placement among the high-octane riffage and dramatic vocals. The bass, here and elsewhere, slaps and bounces with funky levity. The songs regularly display some impressive structuring. Despite their (relatively) short lengths, Dizzy Mystics move beyond simple verse-chorus structures.

Glimpses of metal do arise on occasion. "The Anti-Dream" is one of the heavier songs on the album, based around a strange, highly propulsive riff, though song's second half slows down somewhat. This latter section is noticeably spacier and more psychedelic, leveraging an expansive guitar tone. "Diamond Duller" similarly displays some of the band's most transparent Tool influence. The riffs are weird but melodic, and the vocals are especially reminiscent of Maynard's.

I do have a few gripes with this release, though they're mostly minor. "The Scythe Pendulum Swing" tries to be a slow-builder, but it comes off more as seven minutes of aimless meandering. Dizzy Mystics are never quite able to get the intensity up to a point that it feels like the song has progressed meaningfully. The jazziness of "Rester (Analog Chameleon)", along with a few other quieter moments here and there on the album, doesn't work well, either. This isn't a band that can make an impact by taking it down a notch. Their strengths reside in frenzy and high-tempo theatrics. They also probably could have shortened this album by about 7-10 minutes, and it would be stronger; some songs run a hair too long.

Wanderlost closes on its epic title track, and Dizzy Mystics play to their strengths here. The riffs are fast, finger-twisting feats of technicality, and the song flows seamlessly overall. In addition to the band's instrumental prowess, the vocals are impassioned and dramatic without coming off as ridiculous or overwrought.

Dizzy Mystics offer a unique take on progressive rock. Aside from some of the more common influences, like psychedelic rock, they integrate high-tempo folk, funk, and '90s alt-rock. It results in a distinct sound that sets them apart from most bands in the progressive rock scene.

Review originally posted here: theeliteextremophile.com/2019/05/26/album-review-dizzy-mystics-wanderlost/

1. "Letter" (4:42) (8.5/10)

2. "Shindigjig" (4:43) sounds so much like Jared Leach's GHOST MEDICINE project! Add a little of CSN&Y's vocal stylings and, Wow! Are Kyle and Jared brothers from different mothers? (I'm wont to throw JACK O' THE CLOCK leader Damon Waitkus into the mix) The first of my Top Three picks. (9.25/10)

3. "Fallasophy" (5:02) is there a little MAYNARD JAMES KEENAN in this guy, too? Quite a display of instrumental skill here as well. It'd be interesting to hear Kyle play with TREE TOPS' twin guitar phenoms, Cory Smith and Adam Webb. (8.5/10)

4. "The Frequent See, Consistent Seas" (2:50) hard to categorize this one as it's such a wild and intricate weave of multiple styles. (8.5/10)

5. "The Anti-Dream" (5:09) awesome gut-punching song on the fringes of heavy metal and classic blues rock. Great guitar play on display. Great vocals. My second Top Three song. (9/10)

6. "The Scythe Pendulum Swing" (7:33) taking on a more atmospheric psychedelic approach I am here reminded of contemporary bands SANGUINE HUM, 3RDEGREE, and TREE TOPS--and even a little bit of old STEELY DAN. Great pacing and vocal stylings. A top three song for me. (14.5/15)

7. "Diamond Duller" (4:56) another song that reminds me of 3RDEGREE. Great stuff! (8.5/10)

8. "Jaunter" (5:26) early Jeff "Skunk" Baxter playing with The Dan (Steely) and some of The Allman Brothers in order to try their take on Stevie Wonder's "Superstition." (Am I crazy?) Once again: great vocals. (8.5/10)

9. "Rester (Analog Chameleon)" (5:01) a more folk-bluegrass early DOOBIE BROTHERS take on 3RDEGREE or JOHN MAYER music. Nice drumming here on this very percussive/staccato song. (8.75/10)

10. "Wanderlost" (11:09) using quite a little YES style and sound (though perhaps YEZDA URFA would be a more accurate comparison), this one flows and quirks much like a Damon Waitkus composition--though the sone is also full of many instances and elements reminiscent of 2017's Antimemory by Californian one-off VANETA and even SANGUINE HUM. Great song despite it's mystifying meanderings. (17.8/20)

Total Time 56:31

4.5 stars; a great, exciting collection of hard-rocking, hard-driving songs from a young new virtuoso multi- instrumentalist. You go, Kyle! ARTIST TO WATCH!

I used to hate to play ping-pong with Ted

This was because he looked old and slow, yet never failed to severely thrash me.

Hardly broke a sweat. Looked mildly amused as I tried my best to outsmart and outwit him.

In some odd way, that's how it feels to listen to this album.

No, they're not old and slow- don't even appear to be.

But Kyle is so far over my head-

?in lyrical content (stunning, wise, clever, subtle, eye-popping), in musicianship (complex, precise, eclectic, multi- layered, mathematical yet emotional), in composition (how did he get there, from here? Wait?what did he say again, then add acoustic guitar and bass in counterpoint, with the vocals doing something else amazing over the top?)

So damn. Don't blink or you'll miss something, but if you're of semi-normal abilities and sensibilities, you're going to miss a bunch, and need to rewind now and then to SORT of catch up.

See, I think it's Kyle:

And I think he wrote and performed all the music and all the instruments, aside from the drums, which someone named Aaron Edgar played

Yet, there does SEEM to be a band, composed of:

Kyle Halldorson ? Vox/Guitar Alexandre Joyal ? Guitar/Vox Jeffrey Laird ? Drums/Vox Aaron Bacon ? Bass/Vox

And, I insist I'm not making this up, only Kyle and Aaron E. show up on this debut DIZZY MYSTICS disc.

So that's just one of the mystical koans and riddles and mysteries that abound in this universe.

But there IS a dizzying and yes, mystical array of music

I liked it. I liked it a lot.

There's complexity. Insane chops. Incredible riffs, passages, patterns- winding in and out, wondrous use of vocals both as instruments and conveyers of rhythm and harmony and melody and those wickedly quick/subtle/wise/mystical/odd/quirky ideas.

Buckle up my musical friends. Buckle up.

Now ease back a second and look at that album art:

I can't find any information about it- who, what, where, why, and so on.

There's a lot going on here- the wise, the wicked, sacred and profane, the mysterious, the grotesque, holes punched in the seemingly solid ground, dangers and threats abounding, and every so often rest in the storm (I'm not sure).

So let's just wind this up, shall we?

This is a terrific album, a rip-roaring, thrill-ride, hell-fest, heavenly inspired, heavily curious piece of Kyle's insanely deep, insatiable brain whirling and churning.

If you are able to go to a Dizzy Mystics gig, I don't know who or what you're gonna see there. Maybe Kyle. Maybe the other guys. I just don't know. But I guarantee you're gonna see a head-banger of a show.

Now, who's serve is it anyway? Did you say it's Love-20?

This one earned 4.25 top-spins.

Anyway, their debut album 'Wanderlost', a set of ten songs, is bursting with strength, energy, dynamics, playfulness, shifting rhythms, twist and turns. Adventurous, music-wise barely anything is out of the question. The collection combines untamed heavy rock ambiance akin to Primus with King Crimson eclecticism and some proper psychedelic vibe. Just trying to vaguely describe the boundaries. A fireworks in composition and implementation. Examplarily I would like to point out the wonderful The Frequent See, Consistent Seas with superfine percussion appearance. And of course the multi-layered title track which leaves nothing to be desired. Chapeau, Kyle! An extraordinary listening pleasure.

Suffice it to say that DIZZY MYSTICS is quite unique and sounds like no other band out there which is quite the refreshing development in a world of a million clones and sound usurpers. The band idea and compositions are pretty much the brainchild of main man Kyle Hlldorson who crafted the 10 tracks on WANDERLOST which were primarily written on guitar and then came the bass and drum parts later. While many other instruments are implemented for stylistic effect, DIZZY MYSTICS is primarily a guitar, bass and drum act with the in-yer-face focus on energetic jazz-rock riffing that often drifts into hard rock territory along with slower atmospheric relaxed moments.

Delivering the true meaning of electric, the guitars of King Crimsonian magnitude exude a Steely Dan sort of jazz-rock vibe but can hint at neo-prog's heavier moments heard by bands like IQ or Arena and also has moments that remind of "Relayer" era Yes or even Wobbler. At times the music is somewhat goofy with tongue-in-cheek humor more in tune with the silliness of Frank Zappa. While DIZZY MYSTICS describes its own music as psychedelic progressive rock, the music is more intricately designed with pinches of this and that in every cadence that makes you sit band and thin, hmmm who does that remind me of? The truth of the matter is that WANDERLOST is one of those jittery jazzy prog albums that finds the guitar, bass and drums all exhibiting independent roles and rolling out an exuberant business for most of the album's near 57 minute run.

Perhaps more notable than the funk jazz bass slapping and heavy time signature rich riffing of the guitar is the stellar drum abuse of Aaron Edgar whose chops keep the album hopping at a quickened pace as his drum rolls and fills sound as busy as a caffeinated Neil Pert but with a much richer palette especially in the jazz arenas of drumming complexities. While the psychedelic passages do occur, personally i wouldn't call this band psychedelic in the sense of any true otherworldliness coming into play. This band is about delivering tight-knit musical cadences that generate time signature rich rhythmic interplay with outbursts of energy that often rampage through hard rock territory and verge on metal. The notable exceptions for the true psychedelic extra touches are short as heard on the final title track.

Quirky is the only word that comes to mind when describing DIZZY MYSTICS. Sometimes Halldorson's vocals remind me of Neil Morse and the band can sound like a more jazzy version of Spock's Beard or Morse's solo material only more spastic, more diverse and more, well, quirky. There is a lot of staccato on this album. The snappy rhythmic passages and the quickened bass slaps utilize short bursts of silence in between chords and notes which may seem imperceptible but gives the entire effect a more slapping funkified feel. Probably the weirdest part of the album are the vocals which could be irritating if the music didn't so perfectly match the off-kilter nature of Halldorson's somewhat acute vocal smatterings throughout WANDERLOST. This isn't your ordinary prog but a goofball mix of many other styles that come to mind but presented like nothing else. This energetic electric prog is definitely for those who like it fast, loud and jittery.

The band's debut album "Wanderlost", however, was recorded by Kyle, who plays all of the instruments in this instance, except for the drums who were played by Aaron. The only other musicians on the album are the guest vocalists that appear on the track "Diamond Duller". This album consists of 10 tracks and has a total run time of over 56 minutes. The music is definitely eclectic and eccentric, adding splashes of psychedelic music, some folk aspects, hard rock, jazz and just a dash of indie folk. The music takes a lot of inspiration from everything from KING CRIMSON to UMPHREY'S MCGEE, and adds just enough alternative flair to keep it all current.

The album starts off with a great example of their music in the first single "Letter" (4:42). The music is a swirling layering of guitars that take their cue from Crimson, adding heavy drums and progressive rhythms, even though the meter is pretty standard, it still sounds complex and definitely quirky. This is a great heavy rocker with a kaleidoscope of sounds and the vocals are also top notch, matching the style exactly the way you would hope. Umphrey's McGee fans will also notice the carefree, rocking attitude which retains an excellent use of dynamics. "Shindigjig" (4:43) begins with a fast pace drum solo which leads into a guitar pounding out chords right along with the beat. When vocals come in, they are layered into some cool sounding harmonics and the music continues to match the name of the band, at least in the dizzying fast pace of the attacking guitars. Add in a mandolin keeping up with the guitar attack, and you got this quirky song.

"Fallasophy" (5:02) begins with drums and bass establishing the more moderate beat, that soon switches up meters and beats. There is a taste of the quirkiness of PRIMUS in this track, but with a jazz-oriented melody, it makes for a great combination. There is also a great example of Kyle's vocal abilities, almost sounding like several different singers with his ability to change tone and register at a moments notice. "The Frequent See, Consistent Seas" (2:50) continues with that tricky sound with interweaving melodies and complex guitar riffs and drums keeping time with the complexity, also playing very dynamically. It's a shorter track, but it still packs a wallop. "The Anti-Dream" (5:09) doesn't give you a chance to catch your breath as it takes right off, and builds to a heavier sound with rolling guitar interludes between the frantic and wild vocals. This is one of my favorites from the album as it swings from tapping jazz sections to heavy and quirky rock without hardly any warning. Yet, with all of this ever changing sound, everything still remains interestingly melodic. The instrumental break switches to a more moderate beat, and the change in tone continues as if it never happened.

"The Scythe Pendulum Swing" (7:33) slows things up a bit, but still doesn't let up on the progressive sound, sticking this time to a laid-back jazz style with some great dynamic vocals that also include counterpunctual harmonies that at times contradict the main melody. The vocals swing around like some of the wordless scat jazz vocals from some of the best jazz singers, but there are actually lyrics. This, along with the ever changing vocal tones make this complicated even with its groovy laid-back attitude. Vocal lines start at deep whispers to soaring high notes like some kind of acrobatic (insert your favorite bird). "Diamond Duller" (4:56) utilizes the guest vocalists who sing along with Kyle's vocals. The song is heavier than the last, but the complexity continues with ever changing meters and shifting energies. The additional vocalists bring another dimension to the album in this track.

"Jaunter" (5:26) begins with contradicting guitar lines which soon give way to a funky bass and guitar. The rhythm section drives this track from funk to off kilter beats without hesitation. Melodic hooks rule on this one, but don't count on a rest from progressive heaviness as the music continues its quirkiness, taking the listener away on its many guitar hooks and riff with acrobatic vocals. A sudden end with some sound effects take us into "Rester (Analog Chameleon)" (5:01) which moves along a bit more smoothly, but only a bit, as it returns to a laid-back attitude, with jazz intervals thrown in to keep it all interesting. There is some great guitar picking on this track between the stanzas, and if you are listening closely, during the vocals. Excellent! The album ends with the title track "Wanderlost" (11:09). The band definitely saves one of the quirkiest for the last track, and again the music flows from heavy to soft, changing styles smoothly or at times without notice, all of the time still remaining melodic and interesting. The interplay with the different instrumental layers that start in the 3rd minute is astounding. There is so much to hear and dissect that you could almost write a complete and long review on this track alone. Jazz harmonics take over at 5 minutes, then suddenly build to a heavy guitar onslaught, all the while the vocals keeping up with the sudden changes. Simply amazing! This track alone is a masterpiece, but then so is the entire album.

The music here is complex, yet surprisingly melodic. There are so many layers in the songs, yet it doesn't drown itself in sound as each layer of the music is easily followed and not buried like some other bands have done. The mixing and production is done so well, that each layer is easily heard and you can choose whether to listen to the music as a whole, or delve into the music and listen to a few lines and layers at a time to really hear the complexity in the music. Each time you hear this, you can hear it differently and have a completely different experience. Or you can just put it on and marvel at its progressive complexity and quirkiness. The vocals are wildly dynamic, the musicianship is far above the norm and will leave you with your jaw hanging open. It's so hard to believe this was all done mostly by one person, and from what I hear about their concerts, the touring band is also amazing, but then they would have to be to keep up with this music. Oustanding and defiantly one of the best of 2019! I will be looking forward to more releases from this new band.