Something I learned today: Black and white is always grey. And this week's Counterbalance takes a look at a 1984 turning point in punk. Turn on the news for the 219th most acclaimed album of all time.
Klinger: In 1984 I was this close. I had discovered R.E.M. and Elvis Costello, and I was aware enough to know that there was a whole world out there beyond my heartland classic rock. Theoretically, with one quick turn to the left, I could have immersed myself in this whole underground scene, typified in my mind by albums like the Replacements’ Let It Be and the album I’ve chosen for this week’s Counterbalance, Hüsker Dü s double-LP conceptual magnum opus Zen Arcade. That’s not without regret.
I can only imagine how differently I might have turned out if I had spent more time cracking the code of Zen Arcade instead of trying to figure out the Who’s Quadrophenia. There’s certainly enough going on with this album to have kept my adolescent brain occupied, and I’m pretty sure that if this had been the expression of my teen angst I might have gone into my adulthood with a much different outlook. As it stands, I’m left to ponder this massive monolith of an album from a decidedly more analytical point of view. There’s of course so much to take in, and much of it is buried under that low-fi wall of noise. Lyrics are buried, guitars are muddled, and yet the whole thing still feels to me like a portal into some place that I very much want to be. Is this making sense, Mendelsohn?