Author: Brian Palmer

The Jezabels

Synthia/Self-released

As much an ode to self-acceptance as it is to bearing the standard of feminism, Synthia is equal parts euphoric and cathartic in its exploration. The epic synth-rock opener “Stand and Deliver” finds singer Hayley Mary revisiting her childhood and begging her daddy to prioritize her over his work. “My Love is My Disease” aims a defiant middle finger at anyone who tries to get inside Mary’s head: “Don’t tell me to smile / If you don’t know me / Don’t ask why I frown / I’ll take you down.” Much of the album is filled with unstoppable rock, though an intro of shakers in “Come Alive” adds a primal undercurrent. By the time you get to the oft-repeated refrain “Rev it up” in the closer, “Stamina,” it’s become a full-blooded roar of proud self-expression.

Lissie

My Wild West/Thirty Tigers

A chronicling of the decade-plus that the singer-songwriter spent living in California, Lissie’s My Wild West is her most personal work yet. Bathed in swelling pop-rock and Americana, swaying from gritty rock to folk, the album is a raw, unflinching look at beauty and pain. Whether mourning the loss of a loved one (“Sun Keeps Risin’”), fighting for love (“Don’t You Give up on Me”) or lamenting distance (“Together or Apart”), Lissie bares her soul in an uncompromising way. And while “Hollywood” touches on familiar content—as a ruthless beast on artists—when she follows up lines like, “No matter how they try and warn ya / You fall apart at the seams” with “Still, a dream’s all you need,” there is something powerful about her ability to maintain hope in the face of constant setbacks.

Lake Street Dive

Side Pony/Nonesuch Records

After busting out with the buzzworthy Bad Self Portraits in 2014, Lake Street Dive is ready to do it again. If there’s a band that can light you on fire with a hip-shaking number or set your heart aflame with some deep soul music, it’s Lake Street Dive. Singer Rachael Price seduces you through “Saving All My Sinning” and then goes deeper with the groovy “Call Off Your Dogs.” Noted for the ability to go from jazz to rockabilly, from Motown-style soul to out-and-out rock, with Side Pony the band adds in blues (“I Don’t Care About You”) and ’60s- era rock (“Godawful Things”) without missing a beat.

Signature styles

Cross Record

Wabi-Sabi/Ba Da Bing Records

Emily Cross’ sophomore release is equal parts creepy, beautiful and utterly haunting. From the unusual opener, “The Curtains Part”—with its orchestral flourishes, off-kilter jazz horn, in-and-out ambient acoustic guitar and breathy, airy vocals—to “Wasp in a Jar”—with its plodding, thick-as-molasses bass and distorted electric guitar led by a steady cadence of a tambourine—this album is an engaging experience that is truly alternative. Where else are you going to hear everything from drum machines to the presence of a kalimba and a marimba? Or hear songs that one moment explore the depths of relationships, commitment, what we will do to protect them and how each differs from one another (“Two Rings”), and then liken the struggles of life to those of an insect (“Wasp in a Jar”)? Bright-eyed and energetic one moment, elegiac the next, Wabi-Sabi—a Japanese aesthetic that finds beauty in imperfection—is a diverse musical and emotional experience.

Sierra Hull

Weighted Mind/Rounder Records

The prodigious mandolinist is back with her third major-label release, and it’s killer. The title track is a sexy mix of bluegrass melodies, jazzy upright bass and vocals that sound more than a little vaudevillian, while the dreamlike mandolin ballad “Fallen Man” hits the other end of the spectrum, taking on a more solemn, mournful tone. Hull pulls no punches lyrically, filling this record with palpable tension. “Wings of the Dawn” is practically a church hymn, and “Birthday” immediately follows with lines about how unconditional love isn’t so unconditional anymore. Unsurprisingly, much of the narrative on Weighted Mind centers on someone who is dealing with a lot of emotional and personal situations as she tries to find her direction in life, as demonstrated by such titles as “Stranded,” “Compass” and “Choices and Changes,” and Hull approaches these moments with grace, courage and the occasional bit of wittiness to boot. She marries her internal struggles with gorgeous instrumentation throughout, making Weighted Mind a beautiful record.

Trixie Whitley

Porta Bohemica/Megaforce Records

After dazzling listeners with her left-of-center 2013 debut, Fourth Corner, Whitley’s long-awaited follow-up does not disappoint. “Salt” perhaps encapsulates the tone of the album best, and also gives listeners a sense of her vocal prowess. The track features dueling time signatures, a style that’s not quite rock and not quite ambient pop, and Whitley hitting the higher and lower registers with regularity. You truly never know what you’re going to get from her. The electric guitar on “Hourglass” incorporates a lively flamenco rhythm sensibility while the track as a whole is alternative rock via a ’60s era spy movie soundtrack. The midtempo synth rock of “New Frontiers” is paired to surprising effect with an anthemic, dramatic chorus about how Whitley’s going to find new frontiers, while the stirring closer, “The Visitor,” is a soulful, bluesy piano ballad with lyrics such as these: “I don’t need any more / Than what I give / I just want to be / With those who know secrets / Or else alone.” Porta Bohemica is an exotic, intoxicating release.

Lemolo

Red Right Return/self-released

There is an undeniable ghostly beauty to this record from Meagan Grandall. The lush vocals on Red Right Return play off of the swelling, often moody musical aesthetics, resulting in a euphoric experience. Ambient piano ballads such as “White Flag” are beautifully offset by alt-rock flair on tracks such as “One to Love,” and “Runner” employs a catchy time signature that holds you in its sway. “Backslide” and “Fuel” highlight Grandall’s adventurous spirit by combining jazz drum cadence, thrumming bass and an occasional layer of synths augmenting her siren song. The tracks are at times hopeful and mysterious, while others balance sonic beauty against dark lyrics, bound by a narrative of hanging on through the ups and downs.

Mercyland

Mercyland: Hymns for the Rest of Us, Vol. II/Mercyland Records

In this powerhouse collection that brings together Emmylou Harris, John Scofield, The Lone Bellow and others, there’s no shortage of raw gospel, Americana and soul. Whether it’s the dusky, desperate melancholia on Sugar + the Hi-Lows’ “God Don’t be a Stranger” or Angel Snow’s rapturously understated “I Said it, I Meant it,” these are not the cries of joyous saints, but the ragged utterances of the weary. And while the rockabilly gospel of the McCrary Sisters’ “Boom Chicka Boom” is decidedly upbeat in the face of trouble, it only takes one listen to Will Kimbrough’s stirring, down-tempo “Madness of the World,” with lines such as “Coltrane in the ’60s / Blind Willie lost in time / Mahalia, like an angel / The hymns of humankind,” to find the meaning of exorcising your demons through art.

Daughter

Not to Disappear/Glassnote Records

From its ruminations on motherhood (“Doing the Right Thing”) to how we cope with pain (“How”) and loneliness (“Alone/With You”), there is an intriguing thread throughout this record about the power and importance of human connection. Amid the broken relationships is a hypnotic combination of rock ‘n’ roll, ambient beats and electronica that gives the songs a (sometimes devastating) raw vulnerability. Singer-guitarist Elena Tonra’s slightly trembling vocals are confessional on songs such as “Made of Stone,” where she muses, “I think I am made of stone / I think we are all / Built out of memories.” And she is unflinching on “To Belong” in which she asks, “Don’t you think you’d be better off / Without me tied around your neck?” Not to Disappear is an album that touches you at your core.

Cage the Elephant

Tell Me I’m Pretty/RCA

Continuing the exodus from the brash alternative rock that typified Cage the Elephant’s first few releases, Tell Me I’m Pretty continues the artistic evolution that started on its last release, Melophobia. Classic rock fills every nook and cranny of this record from the thrumming bass and massive drums on the opener, “Cry Baby,” which is cut straight from ’70s AM rock radio, to the Beatles-esque “Too Late to Say Goodbye.” “Trouble” is the album’s biggest highlight, displaying prominently Matthew Shultz’s growth as both a singer and songwriter in a melodic turn amid equally memorable lyrics such as, “Spoke a lot of words / But I don’t know if I spoke the truth.” Add in a riff on the chorus that sounds like The Phantom of the Opera theme, and you have one hell of a song. Cage keeps changing the script on its fans in daring ways, and Tell Me I’m Pretty is no exception. 

Arielle LaGuette

Arielle LaGuette/self-released

If you’re looking to start 2016 on an easygoing note, Austin, Texas-based Arielle LaGuette’s debut EP is the way to go. A solid collection that glides from ’60s-era dreamy folk one minute to ukulele surf-rock the next, these four tracks make you feel good, even if the songs themselves aren’t always happy. “Caution by the Seaside” is a wise tale told in hindsight that will have you nodding along to the languid pop rhythm as well as the song’s content, and “Loose Ends” has a bouncy, pop sensibility that perfectly matches the whirlwind effect LaGuette’s alternately charming and maddening lover has on her. “Easing Your Heart” is the audio equivalent of a morphine feed as LaGuette’s full, deep voice dulls the pain of breaking up by pairing steady, hopeful ukulele with the lyrics, “Life can’t be happy / Without being sad.”

GIVERS

New Kingdom/Glassnote

If there is one song on GIVERS’ sophomore release that encapsulates what you can expect from New Kingdom, it’s the penultimate track, “Layback.” The six-minute epic combines everything from synth-pop to world-beat rhythms, and includes heavy doses of distorted guitars and wobbly atmospherics for good measure, augmenting Tiffany Lamson’s and Taylor Guarisco’s swirling vocals, rather than drowning them out. This is a dance party through and through, but it’s never the same thing twice so it doesn’t get tiresome. Whether it’s the chilled-out downtempo pop of “Lightning” or the positively kinetic “Record High, Record Low,” there is an indelible sense of melody winding its way through this magical record.

It’s been an interesting year. Between “Uptown Funk” and “Shake It Off,” the music world has been dancing up a storm, but it’s also seen some head-scratchingly bizarre releases (I’m looking at you, Mutemath) and yawned at familiar material (Muse). So what to make of this year’s so-called best releases? What follows is one man’s opinion: Nod your head or throw tomatoes at your leisure.

The Lone Bellow, Then Came the Morning

On its sophomore release, this Brooklyn trio dazzles yet again with mesmerizing three-part harmonies and an uncanny combination of Americana, folk, rock and blues. A wondrous release.

Thunderbitch, Thunderbitch

Dirty, raw rock and punk with zero filter, Alabama Shakes singer Brittany Howard proves you can still scream about sex, drugs and rock ‘n’ roll and get people’s attention.

Mimi Page, The Ethereal Blues

West Coast singer-songwriter Mimi Page once again demonstrated why she is an up-and-coming purveyor of ambient downtempo music. Bluesy in terms of relational content rather than sonic structure, Page strikes the right chord between heartbreakingly melancholic and exquisitely beautiful, and her lush vocals are like something out of a dream

Silversun Pickups, Better Nature

Bouncing back from the dark misfire that was Neck of the Woods, Silversun Pickups surprised us with one of the year’s crispest rock records. Brian Aubert’s nasally snarl is as hypnotic as ever, and the trademark fuzzy guitars are matched by aggressive synths and a compelling narrative about connection.

JD McPherson, Let the Good Times Roll

There ought to be a law against how much rock, swing, soul and danceable music is on this record, which plays like a time warp of the golden age of rock ‘n’ roll and Motown. Lucky for us, there isn’t.  

Caitlin Canty, Reckless Skyline

This record is another gorgeous feather in the cap of Canty’s discography as she once again creates a spectacular landscape, transporting you everywhere from the exhilarating chill of an early morning to the incomparable warmth of a lover’s arms. This is a glorious Americana record.

Jason Isbell, Something More than Free

These 11 songs deftly plumb the depths of the personal, emotional, spiritual, mental and social repercussions of the notion of freedom. His scratchy, twangy drawl guides you through these Americana tracks with all the patience of a historian and the insight of a world-wise man.

BT, Electronic Opus

Composer, technologist, godfather of trance music and innovative member of the EDM community, BT takes things to the next level with a reimagining of 14 of his best-known tracks by pairing them with a 100-piece orchestra. The results are breathtaking and powerful, and demonstrate BT’s considerable knack for writing music that transcends genres.

Violents, Two Animals EP

This is more of a 1A than a 2, really, because this is a four-song EP and we did not have a chance to hear more of Violents’ brilliance. Kye Kye’s Olga Yagolnikov is spellbinding on these tracks, infusing the already fantastic synth-pop, downtempo songs with a breathy, unreal vocal quality that makes lyrics positively rapturous, like on the opening track, “Five Senses”: “I’d been away three years / None of them worth keeping / All of my five senses were / Either numb or fading.”

Darlingside, Birds Say

May it never be said that an album featuring odes to famous actors and the language of birds can’t strike a chord. This folk-rock quartet mixes dazzling four-part harmonies throughout its sophomore album, while using wry witticisms to examine the frivolity of hero worship one moment (“Harrison Ford”) before switching gears to explore the sometimes unsettling power of remembrance (“She’s All Around”). The title track expresses the album’s primary theme—finding beauty in the unknowable. Exactly what is found in the exquisite musical experience of Birds Say.

Rock steady

Foo Fighters

Saint Cecilia EP/RCA Records

If the Saint Cecilia EP is indeed the Foos’ last recording—and Dave Grohl has hinted it could be—then it’s one final shotgun blast that will leave your ears ringing long after it ends. There is a rawness to these five tracks that’s been missing on the past couple of releases, so it’s a thrill to hear Grohl bellowing on the distortion-filled punk track “Savior Breath” or the gloriously cacophonous closer “The Neverending Sigh,” which plays like a compact version of “Come Back.” Religious imagery populates a number of the songs—fitting, considering the EP was recorded at Saint Cecilia Hotel in Austin, Texas (Saint Cecilia being the patroness of musicians), giving the EP a delicious duality as it explores what comes next, both existentially and professionally. Released earlier than planned after the Paris attacks cut short the band’s recent European tour, the free EP is a balls-out love letter to fans, and it’s a hell of a way for the Foos to go out.

Shovels & Rope

Busted Jukebox, Volume 1/
Dualtone Music

When you take a duo like this—known for its rich Americana, sinister folk and a number of similar genres—and pair them with everyone from The Milk Carton Kids to Lucius, from JD McPherson to Preservation Hall Jazz Band, you’ve got the makings of a good record. When said album covers the likes of Guns N’ Roses, Nine Inch Nails and The Kinks, it becomes Busted Jukebox, Volume 1, and the result is a damn fine mix. Michael Trent and Carry Ann Hearst offer up twisted, somber takes (“Perfect Day”), doo wop-inspired updates (“Nothing Takes the Place of You”) and howlin’-at-the-moon send-ups (“Patience”) of some of rock’s poignant moments, and they do so with an understated swagger. The myriad guest artists give the album some added oomph, but they don’t overwhelm the already electric, soulful presence Trent and Hearst create. Covers albums are rarely this good, but there’s nothing on Busted that needs fixing.

Dead Professional

Young Hardware EP/Olympico

There is an engaging structure to the latest EP from Dead Professional. Amid the swirling guitars, hip-shaking drums and catchy lyrics from John Harouff is a sense of trying to build to something greater, always searching for a new lick or for that next great note. That’s what makes this a killer release. Whether it’s a driving rocker (“Downtown at Sundown”) or a sick bluesy groove flooding your ears, there is something downright magical happening in these five songs. Harouff gives the album an often subtly soulful vocal aspect, at times reaching beyond the melodies and the lyrics for a transcendent moment—for proof, check out the beguiling Americana rocker “Call Me a Doctor.” Young Hardware confidently examines the everyday in search of the extraordinary, giving this EP an undeniable pull.

Mimi Page

The Ethereal Blues/self-released

Mimi Page has been carving out a niche for herself in the indie electronic scene for several years, and The Ethereal Blues is her most accomplished work yet. The singer-songwriter’s breathy vocals are as spellbinding as ever on ambient numbers such as “Indigo,” and on the gritty electronic track “All is Not Lost,” she sounds like a siren calling out from the other end of a long tunnel. Page’s penchant for examining the seedier side of human behavior is on full display on tracks such as “Black and Blue” and “Human Hurricane,” but she adeptly juxtaposes those explorations with missives on the exquisite beauty and power of love (“Hold Me”). The album, though largely based in the electronic-pop world, has a down-tempo streak that gives it an irresistibly chill vibe. Blues paints a subtle, stunning landscape and is far and away one of the best albums I’ve heard this year.

Chain of Flowers

Chain of Flowers/Alter

Take some face-melting, brash rock ‘n’ roll, splice it together with shoegazey goodness, then toss in some punk-rock flair and you’ve got the electrifying debut record from Welsh sextet Chain of Flowers. From the catchy, hook-filled opener, “Nail Me to Your Cross,” to the driving tour de force that is “Death’s Got a Hold on Me,” the album rarely lets up. When it does though—like on “Glimmers of Joy”—the results are melodic and danceable despite not being mosh-inducing like the rest of the record. Frontman Josh Smith imbues the songs with a palpable energy, whether he’s shouting the primary refrain on “Bury My Love” or taking a more subtle approach on “Crisis.” With no shortage of thunderous drums and roaring guitars, Chain of Flowers is a raucous, beautiful, swift kick in the ass that you’re going to love.

Tyler Bryant & the Shakedown

The Wayside EP/Republic Records

Tyler Bryant is one of the more underrated rock artists of this generation, and The Wayside is proof that you need to get hip to him in a hurry. This EP is a mix of absolutely filthy rock, blues and soul. “Criminal Imagination” shows off groovy, dirty guitar licks and bluesy edginess, while the crunchy-rock and soul swagger of “Mojo Workin’” is a head-bobbing air guitarist’s dream. Not content to simply crank the amps and attitude, Bryant admirably tones it down musically on the ominous acoustic ballad “Devil’s Keep,” and takes his often-throaty howl down to a croon on the closing title track. As is the case with his previous efforts, Bryant knows how to throw one hell of a rock ‘n’ roll party, and given the enthusiasm on this record, you’ll be a delightfully sweaty mess by the end.

Wild Child

Fools/Dualtone Records

Fools is a damn near-perfect album. From the way singers Kelsey Wilson and Alexander Beggins marry their vocals throughout, to the album’s ebullient yet thoughtful tonal scope, the experience can’t be beat. The rock-stomper “Meadows” is layered with a slightly unhinged piano that gives the track a delightfully off-kilter vibe; “The Cracks” has a dreamy aesthetic that calls to mind early Eisley; and the title track is a catchy piece of glitter grunge that will knock your socks off. “Bullets” is representative of the album as a whole: piano pop sensibility with shades of swaggering New Orleans jazz. The track sounds lighthearted and free until you hear lines like, “I can’t love you like I should/My heart is broke so I can’t bend.” This juxtaposition of moods and feelings keeps the listener interested and guessing at the same time on this clever, wondrous album.

Jenny & Tyler

Of This I’m Sure/Residence Music

Whether it’s the driving, swelling orchestral title track or the gorgeous ambient folk-pop update of fan favorite “Song for You,” Jenny & Tyler’s latest stirs your soul with anthemic music, lyrics that wind their way through your heart and crushing harmonies. Of This I’m Sure explores the complexities of love (“You are a Song”), heartbreak (“Where to Begin”) and loyalty (“Walk with You”), and does so with aplomb. Much of the album is charming and coy, but “When I Meet You” delivers its straightforward message by pairing lines like “When I meet you/All the colors lacking luster/They will shine” in a lullaby about the couple’s daughter. It’s touching without being sappy, and reflects the wonder that accompanies the arrival of new life, that unswerving hold it has on hope.

Bronze Radio Return

Light Me Up/DigSin Records

The latest release from this indie rock outfit is nothing short of a delight, even if the content is not always intended to be delightful. Such juxtaposition is found throughout Light Me Up and stands as one of the album’s greatest strengths. Classic pop numbers such as “Before I Get There” are strewn with thoughtful ruminations like “I do believe/That the measure of a man/Is the length he will go/From the place he began,” and while there is a solid, danceable sensibility on “Only Temporary,” it is anchored by a narrative about the crutches we use or allow ourselves to be. The ebullient title track is reminiscent of Knox Hamilton’s “Work it Out,” while “Nowhere to Be” has the kind of not-quite pop, not-quite folk feel of early Mumford & Sons. Singer and songwriter Chris Henderson casts a wide emotional and lyrical net here, giving the audience something with sonic beauty and complexity.

Julienne Dweck

Black Licorice/self-released

Four-plus years after her delightful debut album, On Paper, Dweck is finally back with a new release, and it was worth the wait. Fans will note that much of what they loved about her relationship-focused songs, occasional bits of whimsy and adventurous musical choices are still here. “If Only” has a surprising trip-hop vibe, while “Your Way to Me” is a bit of jangly, not-quite-’80s-era synth pop, complete with heavy tambourine and keys. “Under the Sea” is fun, with its jazz-tinged pop and the dreamy lyrical references that evoke Ariel. The insecurity-themed country rocker “Uncomfortable” is vintage Dweck, and she proves her prowess in creating a thought- provoking narrative in “Nearly,” a subdued track that contemplates one who got away and lingers on what might have been. The album occasionally veers into a lighter version of Regina Spektor, but Dweck’s winning way with words makes that a minor complaint.

Silversun Pickups

Better Nature/New Machine

The lines “This is not connection/It’s only an impression” from the song “Connection” are a perfect representation of Better Nature’s narrative sensibility. “Pins and Needles” and “Friendly Fires” dive into variations on the same theme, with their titles hinting at the need to feel and the danger of vulnerability. “Latchkey Kids” champions the notion of commonality, and the feeling of freedom on the album’s closing track, “The Wild Kind,” is downright palpable. Better plays in part like a kissing cousin to the Swoon record, with raw, raucous tunes filling much of the album. Fuzzy guitars are offset by Brian Aubert’s nasally vocals, and several tracks change time or tone at a moment’s notice. This is Silversun Pickups, pulling off its best rock experience.

Brooke Annibale

The Simple Fear/self-released

Annibale’s first new material since the 2013 Words in Your Eyes EP is a strong release. Centered on the power we give to the unknown, The Simple Fear examines that universal mindset with unapologetic frankness. In “Like the Dream of it,” Annibale admits that reality is often murkier than the dreams we dream. She knowingly sings about the difficulty of finding the good things that come from pain in “The Good Hurt.” But she systematically breaks down fear’s power in “Go,” with lines such as “Keeping me safe/Will only keep me from growing,” and on “Patience” she croons, “If I’ve learned anything in this life/It’s that the things that scare you the most/Are always worth the time.” A hybrid of familiar folk-pop leanings with some of the electric, borderline qualities that first appeared on Words, The Simple Fear has a warm ring to it that finds Annibale as captivating as ever.

Thunderbitch

Thunderbitch/self-released

If you think Brittany Howard is too confined as the frontwoman of Alabama Shakes, look no further than her new side project, Thunderbitch. To say she is unhinged here—and good God is it glorious—is an understatement. Guttural roars tear out of her lungs like cannon fire on many tracks, with “Closer” being a prime example, and the album is chock-full of raw, absolutely filthy rock ‘n’ roll (think Jerry Lee Lewis by way of The White Stripes). Blistering surf punk numbers like “Wild Child” set the album ablaze with frenetic energy, and even on the comparatively mid-tempo rocker “Very Best Friend,” Howard belts out the lyrics with all the force of a hurricane. Thunderbitch is a raucous ode to the proverbial life of sex, drugs and rock ‘n’ roll, complete with a love song to the ultimate rock star stage prop of years ago, “Leather Jacket.”

Atlas Genius

Inanimate Objects/Warner Music

On the heels of the band’s 2013 breakthrough debut, When It Was Now, the Australia-based duo Atlas Genius’ sophomore album is surprisingly more subdued and shows a different side of the band. Easygoing numbers like “Where I Belong” include acoustic interludes amid the warm keys and synths, while “Balladino” aptly sums up much of the album’s conflict: “We’re losing height but holding on/We’re coming in low and way too fast.” Moments of the engaging dance pop that populated the band’s debut are here, like the positively bubbly “The City We Grow,” but even danceable tracks like “The Stone Mill” are laced with despair, “And is it what we waited for?/We could never figure it out.” Keith Jeffery gives a subtle vocal performance, rarely raising his voice or letting his emotions get the better of him, but he does so without sounding numb or boring, which is no small feat.

Foals

What Went Down/Warner Music

On the Foals’ fourth album, the UK indie rockers are getting down with a darkly beautiful side, whether it’s singer Yannis Philippakis mumbling melodiously or finding catharsis in his banshee screams. Moody titles like “Lonely Hunter” define this as a heavier record than previous releases, and “Albatross” features throbbing dance beats and primal percussion throughout as the song builds to an unimaginable crescendo marked by a high-climbing guitar solo. The subdued electric guitar and keys ballad “London Thunder” is as picturesque in its descriptions of skylines as it is about the darkest night of the soul. Moments of lighter pop fare appear on “Birch Tree,” for example, but the tension between the exquisite and the excruciating gives What Went Down some serious teeth.