Best albums of 2024: #5 Wild Pink “Dulling the horns”

Wild Pink was formed in New York City in 2015 by John Ross, Dan Keegan, and TC Brownell. They have released five full-length albums and just as many EPs during their decade in existence. They’ve changed labels a few times, cycled through a few members, but what has remained consistent has been the strong song and lyric writing by frontman Ross.

I came across the group one year into the pandemic with their third record, 2021’s “A billion little lights”. And though up to now I haven’t felt compelled to backtrack through their earlier work, explore any of the shorter releases, or do any research as to who it was I was listening to, I’ve been all over their full-length LPs, enjoying the sound and pricking up my ears whenever they popped up in playlists randomly over the speakers. My interest in them has intensified over the past year, however, the more I’ve listened to this, their fifth record, “Dulling the horns”. It’s quite possible that it has been the compounding of three successive excellent records that has guided my increased appetite for their sound but I think it is more than that.

So I’ll just say it: “Dulling the horns” is a great record. And though I’ve only heard three of their five full-lengths, I still feel confident in declaring this their best, as much as I enjoy many of the tracks on both “A billion little lights” and 2022’s “ILYSM”.

This 2024 release just seems so much more cohesive and focused. This could be the result of a concerted effort by Ross to try to capture the group’s live performance magic by throwing the old reliables in the studio together to bang the thing out. What they captured was an Americana record that has been dragged through the mud of 90s fuzz rock, like Dinosaur Jr, Pavement, and Weezer. Meanwhile, Ross seems to have adjusted his vocal style, whether this was intentional or not, going to the well of established 2010s indie folk singer/songwriters like M Ward, Jason Collett, and Great Lake Swimmers’ Tony Dekker.

All of this has added up to repeated listens to the album, something I possibly didn’t do enough with the previous two and in so doing, I’ve come to realize how great a songwriter and lyricist is our John Ross. And, yes, this might be bold but I feel justified, after singing along to many of the great tracks on this album, to placing him amongst Matt Berninger and Craig Finn, indie rock’s finest.

Intrigued or doubting? Have a peek at one or all of my three picks for you and see for yourself.

---

“Sprinter brain“: “Can you show me how all your feelings are like seashells? Laying down down on the seafloor, and how you dive down, and pick one up, weigh the truth of it in your hands, put it back down again. You just let it be.” This song is just under four minutes of driving and crashing rhythms – both the pounding drums and the wild strum of the guitar – all punctuated by tinkling and dancing keys. It has the feel of a road trip with no intended destination – the windows all cranked open, allowing the warm wind to whip through and forcing the radio volume to be cranked to max. It has the feeling of running away and running to something at the same time. And yeah, it leaves you breathless.

“The fences of stonehenge”: “There’s a light that no one else can touch. When I saw it in your face, I thought it was a little much. There’s a light, I’m going after it, despite the fact I’m still sick of all my shit.” Apparently, this two and a half minute opening number was intended to open the proceedings right from the beginning. A hilarious title that may not seem to be obviously related to the song’s subject matter, until you stop to consider the whole idea and realize the absurdity of it all. As a song, it’s timeless rock and roll, with a persistent power chord strum that hooks you long enough to become invested in the call and response vocals, to which no one is responding save for your own frustration.

“St. Catherine st.”: “I know you wanna be here. Don’t wanna hide again. Quitting drinking was like swimming away from land.” This is just one of many great lyrical treats on this slow-burning but sweat-dripping number, each evoking an image and a feeling that sticks with you. The song builds from a repetitive strum, a plodding footfall, a rimshot that echoes in the darkness. The guitar starts to feel anthemic after a while, a cathartic cross-pollination of guitar god stances and a shoegaze feedback noodle with your eyes closed. It has closing number in a packed club written all over it, everyone screaming along with Ross, hands raised in the air, trying to catch hold of this feeling and freeze it for later enjoyment.

---

We’ll be back in a handful of days with album #4. In the meantime, here are the previous albums in this list:

10. Quivers “Oyster cuts”
9. The Jesus And Mary Chain “Glasgow eyes”
8. The Last Dinner Party “Prelude to ecstasy”
7. Vampire Weekend “Only god was above us”
6. Real Estate “Daniel”

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.