The Iddy Biddies are an indie/rock band led by singer-songwriter Gene Wallenstein. When they first started out at Berklee, the collective set out to achieve a specific sonic goal: “to marry the raw, intimate dissonance of indie-pop with the narrative grandeur of Americana”.
And now they’re back with their second album. And we think they’ve achieved what they’ve set out to do. Allow us to explain.
Opening with a song that was a single released way back in November 2024, It’s Just A Show reminds us at first – with its crystalline, choppy acoustic guitar intro – of Drive by Incubus – perhaps not what you expected based on their mission statement? But as the song progresses further, individual components are introduced, and a picture begins to develop. There’s a vocal that reminds us a bit of Elliott Smith. What we think is an accordion that brings to mind The Decemberists and a guitar sound that we can’t quite place. Maybe R.E.M.? It’s a rich amalgamation of elements that – when combined – make something pretty unique. There is also the eternal, enduring influence of legacy acts like Pink Floyd at play here, but all in all, it ends up feeling like it belongs somewhere between The Beta Band and David Bowie.
Mr. September has a jaunty alt-folk energy to it that is deceptively uplifting. Descending almost into psychedelia, it leans a little bit into The Brian Jonestown Massacre territory, whilst keeping one foot in the woods that appear on the cover of The Trials Of Van Occupanther. Throughout the course of the song, the melodic ascending and descending vocal pattern takes you on a bit of a journey. All the while, the music has a ragged Americana charm that’s complemented by the unexpected inclusion of what sounds like a trumpet towards the end, rounding off a good song with a great moment.
The World Inside has a rough, almost Stonsey-quality to the guitar that opens the song. After the intro, however, we’re back in a familiarly quaint arena. There’s a retro lean to this song that suggests the ’60s or 70s – The Mamas & The Papas. The Beach Boys, The Monkees, and now, The Iddy Biddies. A special mention must be made of the musicianship. Particularly, the lead guitar and organ playing on this tune. And that Decemberists-esque sound is back again (is it an accordion? It may well be a hurdy-gurdy or something for all I know – but it sure is distinctive sounding.) This is a thoroughly enjoyable, tremendously catchy slice of musical nostalgia.
The title track is up next and continues in the same vein musically. Reminiscent of 70s/80s Bob Dylan, the folk-rock songwriting here is arrestingly good. It feels fresh and familiar at the same time, and the production and mix are a thing of beauty. The accordion is employed again, both subtly in the background and as the star of the show at different points in the song. With a melody that reminds us a bit of Only You by Yazoo, but with warm, acoustic, musical choices that feel like the polar opposite of that 1980s hit, it’s quite a prospect. Lyrically, the song explores the moment a relationship unravels under the weight of things unsaid. We’ve all been there.
Believers starts with a cute, sole acoustic riff which quickly fills out and begins to remind us of much more. Perhaps a touch of Neil Young’s Old Man mixed with more modern acts like Guided By Voices and Hal, it’s a delicate blend of light and shade. The use of backing vocals on this song feels like The Beatles, which, of course, is really saying something. As the song reaches its apex, it becomes more driving and assertive – the vocals still breathy and loose, but with the instrumentation holding everything together beautifully. Towards the end of the song, the guitars shimmer like they haven’t yet done and The Iddy Biddies add another string to their bow.
Love Wonders Why starts with a surprising change of pace. The album has quite unexpectedly decided to venture into the cute electro/indie-pop arena. With its bass-heavy, synthesiser-featuring intro – which is eventually joined by a rhythmic acoustic – it comes across a bit like how Club 8, Peter, Bjorn & John or The Concretes might sound if they collaborated with Bob Dylan. It’s definitely charming – but in a very different way to the songs that have preceded it, which, to be fair, actually makes for a nice stylistic change. It’s a deviation, but not so much that it feels out of place. The song after it – Fortunate Sons – seems to keep the new, more uptempo vibe going. The upbeat rhythm section almost swings as Gene sings about burning the “whole place down” over music that feels like a blend of the sound of the first half of the album and, indeed, the sound of the song before it. It is the band’s most anthemic moment so far. A rallying cry, a call to arms, an act of defiance – in a time when defiance is so unfathomably dangerous.
Strange World starts and sounds like The Kinks covering Boulevard Of Broken Dreams. It’s supremely catchy, and when the gorgeous bass tone comes in, it feels like an instant classic. The Neil Young influence is back again, as well as something else that’s more bassy and driving and rhythmic – but we can’t quite place it. Perhaps it’s The Beta Band again, or maybe even Portishead? No matter, suffice it to say that Strange World is one of the album highlights. As we listen, it dawns on us that the album is taking shape, not only as a collection of songs that constitute a whole piece of work, but also as individual entities. Working together excellently, but also incredibly apart.
As the album approaches its end, it kicks into another gear. Whispered Things has a groove to it that reminds us immediately of Amy Winehouse’s backing band – The Dap-Kings. There’s a funky, soulful swing to the instrumentation here that is further emboldened by the trumpet. It feels joyous and melancholic at the same time, and we’re very grateful that the band found a way to incorporate this additional wrinkle into their repertoire and, indeed, the album. Words You Like To Say takes the tone down a bit, at least in the intro, and feels like the sister of the title track we heard earlier. The descending cadence in the chorus is incredibly catchy and feels like it was made for the radio. Or playlists. Or whatever the kids are listening to, pop tunes these days. TikTok probably. Anyway, we digress. It’s a folky, poppy, rocky, indie tune that will have you nodding your head, tapping your toes, and singing along. What more could you want?
The last song has the rather ominous title of In Heaven’s Lobby. The spirit of the tune feels like the opposite of the images that the title might conjure, and the fantastic power pop chorus is positively ebullient.
This album is full of emotion, conviction, and consideration, all delivered with an enchanting and engaging musicality and wrapped up in a poppy, easily-enjoyed, passionate package. We’d say they nailed the brief.
Written by Kinda Grizzly
