Album Review: Daisy The Great – The Rubber Teeth Talk With Friends

Dreamy Indie-Pop 

In 2025, Daisy The Great released their third studio album, The Rubber Teeth Talk. Now, the duo returns with The Rubber Teeth Talk With Friends (2026), a deluxe edition that completely reimagines the original record through collaborations with artists including Frankie Cosmos, Ray Bull, Babehoven and Benét. Rather than simply adding bonus tracks, each song is rebuilt alongside a different collaborator, allowing every guest to bring a distinct perspective while preserving the emotional core of the original material. The result is a collection of reinterpretations that feels purposeful rather than redundant.

The album opens with “Dog – Frankie Cosmos Version,” the lead single from the deluxe rollout. While the original gradually shifted from dreamy indie rock into grungier territory, this version leans further into indie-pop, introducing electronic textures that recall the hazy production of late-2010s Still Woozy. “Lemon Seeds – Ray Bull Version” follows by expanding the original’s subdued arrangement with fuller instrumentation, while Ray Bull’s vocals intertwine naturally with Daisy The Great’s, adding another emotional dimension to the song.

“Ballerina – slipper archive Remix” pushes one of the album’s most energetic tracks even further. The original already embraced a punk-inspired sound, but slipper archive transforms it into an alt-rock anthem through booming bass and vibrant electric guitar work. In contrast, “Dream Song – Harmony Tividad Version” strips away much of the original production, replacing it with acoustic guitar and subtle synths that draw greater attention to the lyrics and vocal performances.

Elsewhere, “Mary’s At The Carnival – Lutalo Remix” moves in the opposite direction, turning a tender, understated song into one driven by brighter instrumentation and manipulated vocals that inject fresh energy. “Lady Exhausted – Babehoven Version” returns to a slower pace, pairing drawn-out vocals with delicate piano to create one of the album’s most intimate moments.

The reinterpretations continue to reveal new emotional shades. “Swinging – Like A Doll Version” trades the original’s groove for a more restrained, eerie atmosphere that emphasizes the song’s underlying anxiety. “Rest Of My Life – Benét Version” benefits greatly from Benét’s rich vocal performance, with layered harmonies between both artists creating one of the album’s most moving collaborations. “Bird Bones – Birthday Girl Version” adds a welcome grunge influence, giving the song additional weight without sacrificing its melodic appeal.

The album closes with “Everywhere – Paper Lady Version” and “Sue Me Alice – Tex Patrello Version.” Paper Lady transforms the dreamy original into a guitar-driven indie rock track while maintaining the song’s abstract lyricism. Meanwhile, Tex Patrello reimagines “Sue Me Alice” as a gentle lullaby, perfectly complementing its Alice in Wonderland-inspired imagery through soft, childlike instrumentation.

The Rubber Teeth Talk With Friends succeeds because it approaches collaboration as creative reinterpretation rather than simple guest appearances. Each artist contributes something meaningful while respecting the identity of Daisy The Great’s original songs. Rather than replacing The Rubber Teeth Talk, this companion album expands its world, offering fresh perspectives that make revisiting the original record even more rewarding. It’s a fitting conclusion to one of the duo’s strongest creative eras.