Album Review: King Mover by Green Machine (1993)
Green Machine’s King Mover, released in 1993 under Prospective Records, is a gritty and unapologetic dive into the raw edges of rock. With its mix of Hard Rock, Indie Rock, Garage Rock, Grunge, and Alternative Pop/Rock, this album feels like a time capsule from an era when music was about rebellion, sweat, and authenticity. The US-based band brought together Mike Swank on drums, Sean Miland shredding guitar, and David Krejci adding eerie depth with his organ work to craft something that still resonates today.
One standout track is "God Of Brick." It hits you immediately with its driving rhythm and razor-sharp riffs. Miland’s guitar work here is relentless—think grungy chords layered over Swank's thunderous drumming. There’s a certain clunky charm to it, almost like they didn’t overthink it, but that’s exactly what makes it memorable. When the chorus kicks in, it’s hard not to nod along or maybe even shout out loud. This song captures the essence of garage rock while tipping its hat to grunge legends like Nirvana or Soundgarden.
Another track worth mentioning is "Malissa's Molasses" (or "Melissa’s Molasses"—the title discrepancy adds a little mystery). This one stands apart for its moody vibe and haunting organ lines courtesy of Krejci. The melody drifts between dreamy and dark, creating a soundscape that feels cinematic yet intimate. You can picture dim lights, smoke-filled rooms, and someone staring wistfully into the distance as this plays. It’s got a sticky sweetness to it, much like molasses itself, pulling you deeper into its groove without letting go.
While some tracks lean heavier on grit ("Blisters") and others explore more melodic territory ("Wrong Heart"), the overall cohesion of King Mover is impressive. Sure, there are moments where the production feels a tad rough around the edges—it’s no glossy studio masterpiece—but that imperfection gives the album character. It’s real, man. Like jeans with holes or a scuffed-up leather jacket kind of real.
Looking back at King Mover, it’s fascinating how it blends so many subgenres without losing its identity. Was it ahead of its time? Maybe not entirely. But it carved out its own space in the early '90s rock scene, offering listeners something raw and honest. And honestly, isn’t that what great rock music is all about?
Final thought: If you’re dusting off old CDs or digging through vinyl crates, don’t sleep on King Mover. Just don’t blame me if “God Of Brick” gets stuck in your head for days.
