For those who followed Wild Pink frontman John Ross’ cancer diagnosis in 2021, questions circulated about what direction his music would take. His band’s subsequent album, ILYSM (standing for “I love you so much”), was primarily shaped by his precarious experience, but it was also not expected to be taken literally. Sure, the songwriting had some sentimentality, but the title track was about being in love with a ghost, which could have come with a disclaimer not to read too much into things.
The Strawberry Eraser EP, released earlier this year, showcased different production choices, including a few tracks recorded at home. In a recent interview for The Pitch, Ross clarified that this was a one-off effort and that his new music would not take such a solitary approach. Perhaps it was a result of being further removed from his health scare or an artistic choice, but Dulling the Horns was written as a full four-piece effort. On the LP, Wild Pink successfully bring the guitars forward, integrate some genre-adjacent sounds, and reference popular culture amongst reflective themes that have come to make up much of their output over the past seven years.
The opening track and first single, “The Fences of Stonehenge”, sets the stage for what’s to follow, which is comprised of the band recording live, capturing a sound that’s rawer than what they have previously put to tape. After the first few notes from a baritone guitar, which creates a downtuned effect, Ross and company lock into a groove, and we hear the usual introspection of somebody being cautiously optimistic despite having “left the path” and still being sick of his own shit.
“The Fences of Stonehenge” signals that this time around, the vibe will be a little different. It also showcases Dulling the Horns‘ most irresistible track, one that could have been double the length, at just over two and a half minutes. According to Ross at the album listening party, every Wild Pink record has a song that is 2:38 because “it’s a lovely number”. If nothing else, the opening song will leave listeners wanting more.
Any excitement about the new, more authentic direction requires exploring the sense of resignation that permeates much of Dulling the Horns. The title refers to a ram’s horns dulling over time with repeated use (those attempts to display dominance), which Ross used here as a metaphor for the music industry. Alongside other possible connotations, the dulling effect signals acceptance but not defeat, with poignant lyrics featured on the title track, “If you don’t learn to let go sometimes / You’re gonna fall apart / If you don’t learn to let go sometimes / You’re gonna break your heart.” Ross admitted, “I didn’t want to clean up anymore,” suggesting that if his voice sounded haggard from overuse, so be it. Behind the song’s crunchy Sun Kil Moon guitars, listeners will be reminded that something can be well-worn and still be in prime condition, like a good pair of jeans, a vintage armchair, or Sam Elliott.
Ross includes some unexpected lyrical references. “Cloud or Mountain” begins with a towering sound that downshifts midway through to share the story of Benjamin “Lefty” Ruggiero, yes, the mob soldier featured in Joseph D. Pistone’s autobiography and popularized in the film Donnie Brosco. Ross attempts to inject some universality into the track by delivering a message about escaping one’s predicament, and the tune takes on a certain level of magnitude following the transition. However, “Cloud or Mountain” would have arguably worked better as a fleshed-out story, like a Bob Dylan crime narrative (although the story has already been portrayed by Hollywood, not the other way around). The track has an epic structure and noteworthy pedal steel solo, which will make it a natural fan favorite.
In addition, the second single, “Eating the Whole Egg”, includes sports references centered on the overarching theme that nothing lasts forever. The track begins, “The Bullets became the Wizards / The Year that Jordan wore the black beret / He left the earth each night / And turned the night back into the day.” Ross also sings about how “freedom fries” were served the year Michael Jordan retired, begging the question, what is it with indie rock artists and #23 (also consider “Hangover Game” by MJ Lenderman)? Such references will certainly appeal to early Millennials, as the patriotism—nay, xenophobia—from that time still reverberates, even though the references are 20 years removed.
Dulling the Horns‘ themes are not all trivial. Conceptually, “Rung Cold” calls forth a conversation started by Modest Mouse 27 years ago regarding consumerism and autonomy. Sonically, Dulling the Horns couldn’t sound further from the angular onslaught of This Lonesome Crowded West, and “Rung Cold” actually follows much of Wild Pink’s temperate approach, the song’s early crescendo like a wave breaking in the distance and steadily rolling to shore.
Within the tune, Ross describes a land that comes to personify our psyche, a sporadic configuration of untamed beauty and personalized confinement. Beyond having “an ocean of strip malls for a country”, he acknowledges the simple reality that we think we are free, but we are far from it due to pervasive technology. Even the sentiment “every time the phone rings, I shake / Claustrophobic in a wide-open space” is met with “I’m just grateful for the screen time / Just a little bit of me time.” Despite our best efforts, we find solace in the glow.
Dulling the Horns includes some expected musical touchpoints, such as Bruce Springsteen on “Sprinter Brain”, Magnetic Fields on “Catholic Dracula”, and Magnolia Electric Co. on “Rung Cold”, but it also provides accents not found elsewhere in Wild Pink’s catalog. A prominent saxophone peaks through the wall of guitars on “Disintegrate”, including a horn outro that could be mistaken for Dave Matthew’s Band. The wandering saxophone on “Catholic Dracula” is not quite the caliber of Springsteen’s “Meeting Across the River”, but it exudes a chilling on-the-corner-at-night kind of vibe. Perhaps most surprising are the prominent bagpipes on “Bonnie One”, with a Celtic charm that leaves a lasting impression despite its brevity.
On Dulling the Horns, Wild Pink deliver a solid record from top to bottom, with moments of brilliance spread throughout. Standout “St. Catherine St” describes being hungover in another country, with the revelatory observation that “quitting drinking is like swimming away from land”. The commanding track builds to a guitar solo, the entirety of which sounds like it might crumble under its own weight. Tracking the album live and removing some of the overproduced elements could have backfired for a band known for their contemplative rather than commanding presence. However, this LP proves to be the shot in the arm needed at this particular moment, unearthing new tones resulting from Wild Pink’s maturation.