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Zen Arcade Husker Du

Zen Arcade is the second studio album by American punk rock band Hüsker Dü, released in July 1984 on SST Records. Originally released as a double album on two vinyl LPs, Zen Arcade tells the story of a young boy who runs away from an unfulfilling home life, only to find the world outside is even worse.[2] Zen Arcade and subsequent Hüsker Dü albums were instrumental in the creation of the alternative rock genre,[3][4] and it is considered by some to be one of the greatest rock albums of all time.

Hüsker Dü had gained notice in the American indie music scene of the early 1980s as a fast, aggressive hardcore punk band. They were the first non-West Coast group signed to the California independent record label SST Records, which at the time specialized in releases by hardcore bands, most notably Black Flag. However, the trio's music was becoming more melodic and nuanced with each album; songs such as "Diane" (from the EP Metal Circus), a true story about the rape and murder of a young woman, covered subjects not addressed in hardcore at the time, and the band indicated an interest in 1960s rock by covering The Byrds' "Eight Miles High".

In an interview with Steve Albini for his Matter column in 1983, singer and guitarist Bob Mould told Albini: "We're going to try to do something bigger than anything like rock & roll and the whole puny touring band idea. I don't know what it's going to be, we have to work that out, but it's going to go beyond the whole idea of 'punk rock' or whatever."[8][9]

The band began rehearsing in preparation for the album during the summer of 1983, in a church-turned-punk squat in St. Paul, Minnesota. The band brainstormed lyrics and musical ideas during jam sessions that lasted several hours.[10] Mould and drummer Grant Hart were the band's songwriters, and prior to embarking to California to record Zen Arcade, Mould was moved (by artwork that Hart had done for another band that did not list songwriting credit) to demand that Zen Arcade list individual songwriter credits.[2] This practice would continue on all of the band's subsequent albums and would contribute to ever-growing tensions between Mould and Hart.