Pete Galub

"I’ve been listening to the forlorn Galub for about a year now, and how did I miss connecting him to Leonard Cohen? He’s a fine songwriter, who creeps up on you (he’s gotta stop doing that). Catch him before he catches you."
- Village Voice (Aber) - Village Voice

"Galub's songs echo familiar country and power-pop models without sounding too indebted to a single source, and each makes room for small melodic and structural surprises... for anyone susceptible to the melancholy charms of the genre, "Boy Gone Wrong" goes right more often than most."

- Time Out NY (Franklin Bruno) - Time OUT NY (Frankilin Bruno)

"‘Boy Gone Wrong’ might comprise just nine songs but the quality is hugely impressive; they are lyrically astute, sometimes exquisitely structured and crushingly beautiful, at others desperately fragile, and sometimes almost boisterous and resoundingly joyous. Galub’s songs could
just as easily be described as bleakly harrowing as they could blackly humorous, depending on your interpretation"
- Comes With A Smile, UK
- Comes With A Smile, UK

The first thing you'll notice about Galub's music is his high voice. He reaches a near-falsetto in "Hidden Crumbs", and you'll think you could take him down with a single punch. However, it's also the same kind of voice that drove you to Chris Bell, Pete Ham and the rest of rock's more fragile geniuses. Galub's music is slightly less personal than these legends, speaking as often for the multitude ("Everybody has something they can't have") as for his own loneliness ("There ain't a heaven or a hell on Earth / with which I can side...").
Galub's voice may not be too everyone's tastes, but he plays it to his advantage. He approaches songs with the speak-sing style of a Chris Stamey, then attacks their "dramatic highlights" with the passion of a Grant Hart. Unlike Jonathan Richman, he's not ashamed to shout when cutesy lines ("At the Karaoke, my life is a background vocal") will no longer do.

The joys of Galub's music stretch far beyond the name-dropping comparisons mustered here. His melancholy is not drawn in a straight line, and his voice isn't so meticulous as to convey each sentiment the same way. There's something far more perverse to his character than his youthful yelp, which adds a mysterious underbelly to Boy Gone Wrong that's well worth checking out. Sharp melodies, piercing vocals and a truly unique identity make this the kind of album on which you can judge strangers; if they dislike it, just sleep with them and move on.

- Splendid e-zine