The road has unpredictable variations of width; it’s mostly two-lane but some sections have one or three or four or more. “Newest Industry” starts out with a very one-lane feeling caused by the bass playing the same notes as the guitar melody.
Then it settles down into a normal complementarity between bass and guitar. I’ll call this the two-lane feeling.
Extra lanes are briefly opened up as the bass line goes to the fifth instead of the tonic in the second pair of chords in the instrumental appendix to the verse. (In musicspeak, putting the fifth note at the bottom is called the second inversion of the chord.) Listen to the momentary sense of width this produces, even as Hüsker Dü slows down not a whit:
Guitar chord: G# A# A# A# G# A# A# A# A B B B E
Bass note: [Same, until . . . ] E F#F# F# E
Those fifth notes totally belong to the A and B chords the guitar is playing, but given the authority of being the bottom notes they imply the different worlds of E and F-sharp chords. (Might one say: semipolytonal?)
Just like when you’re speeding on the highway of life, the appearance of extra lanes teases your mind with options not yet concrete – what might you do in this space? – until the chances, whatever they were, vanish as the road once again constricts. Because you’re going fast. It’s wonderful how speed simplifies.