In the midle of the 1980s,Husker Du toured relentlessly, shows that never let up for a second's rest and usually featured songs the audience had never heard,because guitarist Bob Mould,drummer Grant Hart, and bassist Greg Norton were releasing albums so fast they'd usually recorded another one by the time their latest was available in stores. It didn't really  matter ,since it was always clear the band was getting better, closer to some place where melody and chops helped rage combust. Linking the noise and tunefulness was a deeper symbiosis. Husker Du shared a great delusion with the college fans who'd supplanted hardcore's Ayatollahs-that the finest postpunk should and could be everything in the rock at once,without need of validation from any mainstream. At least that's what was conveyed in the Husker's epic moment ruling indieland alongside Minneapolis rivals the Replacements. The sweat pouring off of fat Bob Mould's body, as he played enough guitar for two people on his Flying V, was one of indie's most romantic sights; every time a drop hit earth, some band like Superchunk or Soul Asylum sprang into existence.
Zen Arcade (an inevitable concept album from this most Who-ish of indie bands) devided into four sides on vinyl,the first a declaration of revolt, the second sheer vengeance, the beloved third sublimely catchy, the fourth a single with a weird long B-side. Between the coldly acoustic "Never Talking to You Again," merciless "I'll Never Forget You," flat-tire boogie "What's Going On," piano-moistened "Pink Turns to Blue," therapeutic "Whatever", and Clash-like "Turn on the News," Zen Arcade bulges with unleashed possibility, its weaker songs and tossed-off experiments almost deliberate, momentary breaths designed to elevate the classics still higher.


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