In November '87 we booked ourselves into some studio and rehearsal facilities in northern Denmark, called the Stuk Ranch. We were determined to do a quick follow up to Future World or at least that was our intention. We had no ideas at all so we literally had to start from scratch. We spend a good week there but most of the time we fooled around with some foolish cover song, making a joke about one of our roadies. However we got one song written while we were there. It was Over and Out and I guess a little bit of Attention, but bad luck already started to rear its ugly head. One night we went into a bar/discotheque in a nearby city to clear our heads (with alcohol naturally). During the night most of us left and went back to the farm, but Phil and Alan decided to stay there. Phil obviously got into some fight with one of the local rednecks and ended up with a broken arm. So he had to record the demo we did for Over and Out with one arm in a sling and we went home. On the way back we passed by the newly rebuild Puk Studios to check out their new facilities, Judas Priest were there recording their Ram It Down album and we were amazed with what we saw. The rest of the year we didn't do much mostly because of Phil's broken arm.

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Lovegames was the first song that was written for the album that eventually became Future World. It was written late '84 just about the time when Red, Hot and Heavy was released. During the spring of '85, Rodeo and Yellow Rain were the next songs to be penned. It was a bit of in between rehearsals for playing festivals and the ongoing promotion for Red, Hot and Heavy which was released in Europe at that time. Some time in late summer '85, Hammer and I were hanging out in his apartment listening to records which we regular did and I remember that in particular LA bands like Ratt, Rough Cutt and in particular a band from Arizona called Icon (especially their second album: Night of the crime) had quite an impact on us back then. But on that day we listened to the first King Cobra album and one of the songs from that album, can't remember which, did actually inspire us to write the title track for the forthcoming album. First it was in fact entitled Afterworld but of course later named Future World.

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With a new major record company behind us we started out '84 by opening up for Judas Priest on one single gig in Copenhagen on January 20. In march we did some promotion for the re-release of the first album and made our first appearance on Danish national tv performing Fantasy. CBS wanted us to follow up with a new album a.s.a.p. In those days we used to rehearse something like 5 times a week or at least hang out together, so much of the material for the forthcoming album was already written. The first song I guess we wrote was Nightdanger then followed by Queen of Dreams, Battle of Pride and Cold Killer. Those were all written during the summer/autumn of '83. Then we went on our first tour of England and remixed the first album etc. and not much songwriting were going on for the remaining part of '83. After our first brittish tour we also realised, that maybe it was time for a little line up change. When you spend three weeks in the back of a van, playing small clubs under real shitty circumstances you find out a lot about yourself and those you are in a band with and something wasn't quite right, someone had to go.

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Released: Nov 1983 in the UK on Bullit records (UK) and Par Records in the US. Everywhere else on Licensed deals or import.

The album was in march 1984 re-released in a remixed version by CBS Records throughout Europe.

The first song ever written by PM was Shelly the Maid, written at the end of 1981 by Hammer and his then brother in law. Next song was City light, written in the summer of 82. In the autumn of that same year the songs, Victims of Power, Nowhere to Run, Spanish Midnight, Fantasy, Children of Tomorrow, Warchild and In the Night were all written and demoed during January 1983 at a local demo studio. The demo simply titled Heavy Metal was first send out to some small unindependent labels and immiedetly caught attention by a company from the Netherlands called Rave on records and a little English label called Bullit records. We decided on Bullit, since we believed that Britain and the british press were the turning point for heavy metal at the time being. Signing with Bullit was the first mistake among many, in the years to come.

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