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‘[...] Otherwise, this is a nonstop barrage of instrumentation. The constant sense of tension throughout provides an unrelenting despair that befits the title and theme. It is in their sheer stamina that Grimény fall closest to their elder German brethren of Can and Neu!, but otherwise this has little in common with Krautrock, although some of these tracks, such as the finale “Der gelbe Schrecken,” would make great film scores, something that German acts such as Tangerine Dream and Popol Vuh were known to produce in the 1970s and ‘80s. [...] ’
    — Peter Cook, Already Dead Tapes, 2016;

‘This German power trio is conceptually focused on the idea of disappointment: letdowns, failures, shortcomings. And they walk the walk. Look how uncomfortable they are in their royal frockery. That one dude's beard is weak, and that one other dude doesn't even have a beard. And to top it off, their music is compositionally inspiring and flawlessly played and not disappointing at all. Way to go not being disappointing after all, Grimény. ’
    — Jesse DeRosa, Mike Haley, and Scott Scholz; Tabs Out, 2016;

‘Den Abschluss des Winterawards geben Grimény, bestehend aus Schlagzeug, Bass und Gitarre. Sie haben sich dem Genre des Math Rock verschrieben, nutzen also viele verschiedene Takte nebeneinander, sodass sich ständig neue Klangbilder ergeben. Die Musik ist anspruchsvoll, eröffnet aber auch neue und noch nicht erforschte klangliche Horizonte. Im Gegensatz zu Genrekollegen wie This Town Needs Guns bewegen sich Grimény aber nicht in Richtung Indie, sondern tendieren eher zu Progressive und Psychedelic. An einzelnen Stellen erinnern sie auch an Godspeed You! Black Emperor. [...]’
    — Konrad Bender; Regioactive, 2016;

‘[...] Im folgenden "Viktoriastadt" dagegen scheint sich erst gewöhnlicher Postrock anzubahnen, dem Grimény aber sehr bald äußerst freiformige Ausbrüche entgegenstellen und somit das Klischee vermeiden. "Tükl-12" schließlich lässt erst nach einem crimsonesken Einstieg mit komplexer Rhythmik die heulende Gitarre durch den Song führen, ehe in der Mitte eine ruhiges Zwischenspiel einen optimistischeren und geradlinigeren Part einleitet. Dieser aber endet nach gut fünf Minuten in einem noisigen Chaos, das dann wiederum in einen psychedelischen Schlussteil übergeht. [...]’
    — Gunnar Claußen; Babyblaue Seiten, 2016;

‘[...] As heavy as this can get- as heavy as metal- it can get just as soft and quiet (which reminds me of something like The Beatles on some weird level) and the amazing part is that it can do it all within the same song. While there is a sad, somber feel to the music mostly overall it has this ringing to it as well. It actually really reminds me of something great from the 1990's where it does that thing with the guitar where one note is played (or one chord) and then it sort of echoes like ripples on a pond only with Grimény it makes it feel more like the echoes are directly hitting your soul. [...]’
    — Joshua Macala; Raised by Gypsies, 2017;

‘A boundary-pushing release that is equal parts cacophonous and sullen, Die große Enttäuschung is a melting pot of math, noise, space, and psychedelic rock with a true sense of clarity and focus that would make Don Cabellero proud. It is the debut full-length album of the Berlin-based trio Grimény, who self-describe themselves as a band having evolved out of their “deepest love for letdown worship.” That musical aesthetic is also reflected in the album’s title, which loosely translates as “the great disappointment”. Considering that this is a debut coming from such a simple trio line-up, the range of music on Die große Enttäuschung is nothing short of astonishing; and bass lovers will be in heaven when they hear the bass-travaganza on the record.’
    — Arctic Drones, 2018;