[2] Their third studio album Forward in Reverse (2016), and its successor Alter Echo (2020) were both released to critical acclaim and helped regain their position as Denmark's most popular rock band.

[20] Prior to choosing "Dizzy Mizz Lizzy", they also considered "Heaven", "King's Cross", "Battlefield", "After the Storm" and "Boyazont" as a band name.

[19] It was then that Friis and Nielsen convinced Christensen to do the vocals in the absence of a better singer, because they felt that every time he sang to demonstrate how he wanted the melody, it sounded exactly the way it should.

[19] Later attempts at expanding to a quartet with an extra guitarist failed,[18] and critics would explain: "From the outset it was clear that Tim Christensen was the group's undisputed center, but the band benefited significantly from the collective dynamics.

[23] In search of their own musical style, they used a cheap youth club in Hvidovre for a rehearsal room[18] while playing "porn rock with nauseating choruses.

"[18] They would throw themselves into "Hey Joe" by the Jimi Hendrix Experience, "Rock and Roll" by Led Zeppelin, and The Beatles' cover of the Larry Williams song "Dizzy, Miss Lizzy",[18] from which they derived their band's name.

[18] Christensen received a Marshall 4x12 G1275 amplifier from his parents for his 18th birthday,[20] which helped him write heavier music and would shortly thereafter result in the riff to the hit song "Waterline".

[18] Their style would frequently be compared to Led Zeppelin and Pearl Jam,[26][27] even though critics admitted that "the trio wants—and inexplicably even manages—to create their own musical identity.

[18] With Dizzy Mizz Lizzy's third attempt at DM i Rock in Jazzhus Montmartre on 30 April 1993, the trio won because of "their obvious talent and charisma.

[18] They "quite literally felt on home soil"[18] when they were contacted by Nick Foss, head of A&R at EMI-Medley,[30] and known by the band as the producer of several albums by D-A-D and The Sandmen.

[38][39] Five singles were released from the album and all got much radio play: "Silverflame", "Barbedwired Baby's Dream", "Love Is a Loser's Game", "Glory" and "Waterline".

[41] Interviews paint a picture of rather well-behaved musicians; they kept living with their parents[18] until their debut album and the ensuing tour had earned them enough money to each buy their own homes in Copenhagen.

[1] The closest they ever came to rock star misbehavior was a backstage food fight in Aalborg with Inside the Whale, and trashing a disappointing hotel room in Germany at a time they felt depressed and homesick.

[29] The performance in Osaka on 16 July 1995 was recorded and released as the Japan-only CD One Guitar, One Bass and a Drummer, That's Really All It Takes — Live in Japan,[43] which was later included in the Dizzcography box set.

[15] This period also showed the first signs of the band members heading in different musical directions,[20] about which Christensen explained in 2000: "I needed change while the others wanted to continue in the same style, and that was actually the most important reason we split up.

[12] A press release was issued the same day that stated the band is dissolved, and has in total won 5 Danish grammy awards, as well as Tuborgs Grønne Pris.

[22] Critics would later explain their decision as the band having the courage to stop in time despite enormous success,[51] although it was largely due to fatigue that the trio could not bring themselves to continuing to play.

[19] He went through a difficult time of coping with both his breakup with the band and with Rosendahl, but he went on to find his musical style, which resulted in the release of his debut solo album Secrets on Parade in 2000,[12] of which some songs were based on the Dizzy Mizz Lizzy demos from 1998.

To walk off the extra weight he had gained from being at home for a long time, Nielsen took a job as a postman,[20][54] while Friis became a truck driver delivering gas containers.

[24] The band's only performance during their 1998–2009 break was a charity concert called Brandalarm (Fire Alarm), held on 16 August 2006 in the Copenhagen venue Vega for musicians whose studio had burned to the ground.

[51] Christensen commented in 2008 that this was a one-off event, but that the band would be open to do a reunion tour at some point in the future for nostalgia's sake, but without the aim to go back into the studio to record a new album.

The renewed interest for Dizzy Mizz Lizzy inspired the Danish producer and DJ Morten Breum to release a remix of "Waterline" on 5 April 2010.

[69] A few days later, on 12 November 2010, EMI released the compilation album Big-5: Dizzy Mizz Lizzy[70] as part of their Big-5 series, containing their artists' five best tracks.

He was expected to also be working on his fifth solo album or a second volume of The EP Series, which Christensen still plans in addition to the Dizzy Mizz Lizzy reunion.

[2] Two days later, they revealed that they had written new songs and that six shows in Denmark were booked for April–May 2015,[6] though at that time they indicated it was not yet known if the band would release an LP, an EP, or just one or two singles, as that would depend on the mood and creativity.

Because of the greater infusion of ambient and orchestral elements in the band's newer material, Dizzy Mizz Lizzy asked Anders Stig Møller of Turboweekend to join them on keyboards on tour.

On 1 September 2021, the music video for the five-piece suite "Amelia", totaling 23 minutes, premiered at the Odense International Film Festival, directed by Marc Louis Sutton and starring Angela Bundalovic.

The same photo hung in my home, and when we were searching for a cover for our first release (the 1993 promo), we felt it was a great idea to use the picture of her as a sort of mascot or logo.

During the band's 2009 reunion, the mascot was used in promotional material and on stage, and appeared in a duotone black and white portrayal on the front of the 2010 Dizzcography box set.

After the band reunited in 2014, the mascot was again used, this time in the form of an anaglyph 3D rendering for promotional material, on stage, and the cover art of the 2016 studio album Forward in Reverse and its singles.