Grymm
Grymm is a long‑running metal critic and contributor at Angry Metal Guy whose coverage is driven by feeling as much as by form, with a particular focus on emotionally heavy, adventurous metal across subgenres. His work stands out for a strong personal voice, a willingness to champion maligned or overlooked records, and expansive year‑end lists that treat extreme and doom metal as landscapes to map rather than scenes to skim.
Top Ten(ish) lists and long‑view genre mapping
Across multiple years, Grymm uses his recurring Top Ten(ish) features to take stock of the metal landscape rather than just tally favorites. In “Grymm’s Top Ten(ish) of 2015,” “Grymm’s and Kronos’ Top Ten of 2018,” “Grymm’s and Kronos’ Top Ten(ish) of 2019,” “Kronos’ and Grymm’s Top Ten(ish) of 2020,” “Kronos’ and Grymm’s Top Ten(ish) of 2021,” and “Grymm’s Top Ten(ish) of 2023,” he presents oversized lists that mix genres, dig into disappointments, and invite disagreement, framing them as essential, opinionated reading for metal fans.
Individual entries name brutal and adventurous acts such as Organectomy’s Severed from Humanity, Immortal Bird’s Avolition, and Madder Mortem’s Vigil, showing his comfort with brutal death metal, blackened and progressive hybrids, and atmospheric doom within the same feature. These lists emphasise depth and breadth: he moves between underground and more established bands, highlights both triumphs and misfires, and uses year‑end coverage to argue for what metal is doing and where it should go.
Collaborations with fellow writer Kronos underline his role in a small core of reviewers “who have been at this metal review thing a long, long time,” reinforcing the sense that his Top Ten(ish) pieces are part of an ongoing, multi‑year conversation about the genre rather than one‑off roundups.
Indefensible Positions and contrarian album advocacy
In the feature “Indefensible Positions: Grymm Defends Projector,” he adopts a deliberate contrarian stance, taking on Dark Tranquillity’s often maligned album Projector and building a case for its strengths.
The format places him in the role of defender for records that many listeners dismiss, and he leans into that tension instead of smoothing it over. The piece shows how he breaks down songwriting, atmosphere, and risks taken by the band to argue that an album’s deviation from expectations can be a virtue rather than a flaw. This kind of work distinguishes him from more generic reviewers on the metal beat: he does not only review consensus “good” records but spends time rehabilitating albums that are divisive within the fanbase.
The tone is candid and conversational, but the argument is structured, giving communications teams insight into how he might respond to material that challenges genre norms or polarises audiences.
Album reviews from Warning to pagan and industrial metal
Grymm’s album reviews at Angry Metal Guy span doom, pagan, and industrial‑leaning metal, with a recurring emphasis on emotional impact. In his coverage of Patrick Walker’s projects, he writes that “few luminaries in metal can suckerpunch you right in the feels quite like Patrick Walker of 40 Watt Sun and the legendary Warning,” underscoring how he hears doom records first as carriers of feeling and second as collections of riffs. His review of Warning’s Rituals of Shame continues that line, focusing on how the music delivers that emotional punch within contemporary doom metal.
Further into his archive, he introduces a review by noting “with plenty of tattoos and hair on my face (and little on my head), I know more than a few heads will turn.
Wicher, the debut album from Polish pagan metal…,” using personal detail to set up a dive into pagan metal and signal his engagement with regional and thematic niches of the genre. He also writes about industrial and experimental acts such as Author & Punisher, treating their output as part of the broader metal conversation rather than outliers. Across these reviews, he combines accessible, sometimes humorous scene‑setting with detailed attention to how albums feel and what they attempt, making him a natural fit for bands and labels whose work leans on atmosphere, narrative, or stylistic risk.
Voice, tone, and attitude toward genre boundaries
Grymm’s author archive at Angry Metal Guy stretches across dozens of pages, marking him as a long‑tenured contributor whose perspective has evolved alongside modern metal.
His author notes and intros build a consistent persona: references to “Papa Grymm” and being a “wee little kvlt tyke” tie him closely to metal culture, while anecdotes about tattoos and humor about cleaning his room keep the tone grounded and self‑aware rather than aloof. At the same time, he states directly that he is “supportive of bands branching out a little bit from their comfort zones to stretch their limbs, check out new haunts, or just freshen up their” sound, making clear that he values experimentation over strict adherence to genre codes. This attitude informs both his praise and his criticism; he is willing to call out safe or stagnant writing, but he also offers structured support for artists who take risks, whether in doom, pagan, or industrial directions.
Outside of metal criticism, he has experience writing news articles and reviews about video games and technology trends for an online outlet, which adds familiarity with digital culture and interactive media to his background. Taken together, his body of work signals a reviewer who responds strongly to emotional, risk‑taking metal, writes with a vivid and engaged voice, and is prepared to make detailed arguments for records that challenge genre expectations.
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