“The title of our third album, “The Rubber Teeth Talk“, comes from a lyric in one of the songs on the record, “Dream Song“, describing “the rubber teeth” covering the clock during a freaky, playful fever dream. Throughout the album, the Rubber Teeth symbolize the voices in our heads — sometimes tender and creative, other times critical and self-sabotaging. At its core, this album is about embracing the unknown, driven by both bold imagination and intimate personal reflection. We were so lucky to be able to work on this project with the inimitable Catherine Marks, star of our hearts and fearless co-leader of the project.
“All I wanna know is, will I be alright? / Will I be alright for the rest of my life?” I couldn’t agree more. New York duo Daisy the Great’s third LP, “The Rubber Teeth Talk“, finds Kelley Dugan and Mina Walker in full Rock God mode. Produced alongside Catherine Marks (St. Vincent, boygenius, Wolf Alice), “The Rubber Teeth Talk” is energizing, catchy, and sharply self-aware, traveling between rock-adjacent tangents—twang on “Mary’s at the Carnival,” dream-pop on “Lemon Seeds,” overmodulated grunge on “Bird Bones”—while keeping grit, distortion, and guttural emotion at its core.
The reverby opener “Dog” kicks off with a high-pitched synth loop that explodes into a riff-heavy 2000s-era rock track. The vocals are stacked to infinity, delivered in their signature run-on sentence cadence, building intensity with each repeat of the chorus. The production throughout is crisp and clean, which only makes the chaos hit harder. The record is as intense as it is gentle.
The wispy falsettos and laid-back acoustic riffs on “Mary’s at the Carnival” offer a moment to catch your breath. “Swinging,” about getting too high on laughing gas at the dentist, is a standout—bass-heavy and rhythm-forward, it flirts with spoken word and King Gizzard-style, psychedelic storytelling before melting into something whimsical and synthy.
“The Rubber Teeth Talk” is packed with attitude the single “Ballerina” carries a Courtney Barnett-like exasperation (“I’ll never have any fun if all I do is sit and whine”), while “Lady Exhausted” names that fatigue outright, ending in an operatic, Heaven’s Gate-style climax. I’m convinced the sound of Dugan and Mina’s voices alone could lure me to the ends of the earth.
Each song exists in its own distinct world, blending lyrically inspired sonic details with our stacks of interlocking harmonies. We recorded the album with our band at Studio G in Brooklyn and finished it up in London with Catherine at Eastcote. It has been a really really special time and we can’t wait for everyone to hear the music.
The Fat Angel Sings 