Living In The Future: A Scrappy Blast from the Past That Still Kicks Ass
Alright, let’s get this straight—Dance With A Stranger’s Living In The Future isn’t some overhyped masterpiece with a million-dollar budget. It’s raw, unfiltered, and kinda rough around the edges—but damn if it doesn’t pack a punch. Released in 1991 under RCA (yep, back when labels still mattered), this album screams Pop Rock, Rock & Roll, and Blues Rock like an old-school jukebox on steroids. And guess what? It’s got enough grit to make you forget half the polished garbage they churn out today.
First off, let’s talk tracks. "Living In The Future" hits hard right outta the gate. It's not reinventing the wheel or anything, but Frode Alnaes’ guitar work is so damn sharp it feels like he stole lightning from the sky. Paired with Bjørn Nessjø’s production chops, which are tight without being suffocating, this track nails that sweet spot between catchy and chaotic. You can practically hear Europe’s heartbeat in every riff—it’s brash, loud, and dripping with attitude. If you’re looking for subtlety here, good luck; this song grabs you by the collar and doesn’t let go until the last note fades.
Then there’s “Together,” which might as well be renamed “How to Make People Move Their Feet.” This one sticks because it’s got groove for days. The bassline slaps harder than most things I’ve heard this year, and the lyrics—simple as hell—are strangely addictive. It’s not trying to be profound or deep; it just wants you to feel something. And honestly? That works. It’s the kind of tune that makes you wanna grab someone random and start dancing, even if you look ridiculous doing it.
The rest of the album? Solid stuff, though nothing quite matches those two bangers. Tracks like “Boys And Girls” keep the energy alive, but they don’t hit the same way. Still, props to the band for keeping things interesting throughout. Credit where it’s due: Crimson nailed the design, giving the whole thing a vibe that screams ‘90s without feeling dated. Management by Continental Managements AS probably helped too, though who knows what exactly they did besides yell at people to get their act together.
Here’s the kicker: listening to Living In The Future now feels weirdly nostalgic, even if you weren’t alive when it dropped. Maybe it’s the rawness, maybe it’s the balls-to-the-wall confidence these guys had. Whatever it is, it reminds me why music used to mean something before algorithms started shoving playlists down our throats.
So yeah, give this one a spin if you’re tired of all the cookie-cutter crap flooding your ears lately. Just don’t expect perfection—this record’s charm lies in its flaws. Oh, and one last thing: whoever decided to put Frode Alnaes in charge of music should get a medal. Dude knew how to shred.
