Per Second, Per Second, Per Second... Every Second

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Editorial Reviews

All Music Guide - Johnny Loftus
Wheat's fourth full-length effort arrives -- finally -- from Aware via Columbia, a full four years after the attractive indie fuzz of Hope and Adams. The label woes that caused the delay are notable only in their role as threshers for shucking Wheat from limbo to Aware, and turning Per Second, Per Second, Per Second...Every Second into the perfect record to shop at the end of 2003. In many ways, the Cambridge, MA, trio is like a Toad the Wet Sprocket for the 21st century. Just as Glen Phillips and his pals made mature pop music for a mid-'90s audience burned out on grunge, Wheat wants to dance with John Mayer's people, if only to show off the sculpted indie scuff on its ...
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Editorial Reviews

All Music Guide - Johnny Loftus
Wheat's fourth full-length effort arrives -- finally -- from Aware via Columbia, a full four years after the attractive indie fuzz of Hope and Adams. The label woes that caused the delay are notable only in their role as threshers for shucking Wheat from limbo to Aware, and turning Per Second, Per Second, Per Second...Every Second into the perfect record to shop at the end of 2003. In many ways, the Cambridge, MA, trio is like a Toad the Wet Sprocket for the 21st century. Just as Glen Phillips and his pals made mature pop music for a mid-'90s audience burned out on grunge, Wheat wants to dance with John Mayer's people, if only to show off the sculpted indie scuff on its fancy popternative shoes. Hope helmsman and Mercury Revver Dave Fridmann returns for Per Second. He tricks out relatively sweet and straightforward songs like "These Are Things," "I Met a Girl," and "Life Still Applies" with enough layered vocal and instrumental dynamics to posit them sufficiently past normal, but close enough to the mainstream to read the tag on its bra strap. It doesn't get much more accessible than "Some Days"' ooh ooh oohs and propulsive, almost dance-pop beat. But Wheat's lyrics are laced with a wry wit and touching resignation that makes the cut something more than radio-friendly pap. "Love takes its time/And I don't know a thing about it," Scott Levesque sings. "And some days you change your mind/Because I sure change my mind a lot about you." The alternate-channel vocal effects, snatches of conversation, and clutch of crunchy/swirling guitars punching up the radio rock riff only make it more uniquely accessible. Other highlights include "Hey, So Long Ohio," which delves back into the dream pop references of the band's early work, and "Closer to Mercury," a cleaned-up version of Hope and Adams' "Don't I Hold You." Curiously, the song appears for a second time as a hidden bonus track, in a version much closer to its first incarnation. Per Second, Per Second, Per Second...Every Second is a welcome return for Wheat, and one that should re-energize original fans while clogging its dance card with new ones. As a final comment on the band's appropriate marketing and sonic positioning, Glen Phillips -- recent Aware solo signee -- contributes guest vocals to "These Are Things."
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Product Details

  • Release Date: 11/4/2003
  • Label: Sony Mod - Afw Line
  • UPC: 696998681620
  • Catalog Number: 86816
  • Sales rank: 189,022

Album Credits

Performance Credits
Wheat Primary Artist
John Fields Bass, Guitar
Dave Fridmann Bass, Hammond Organ
Rick Brennan Track Performer, Group Member
John Paulson Conductor
Katie Kadarauch Violin
Amalia Aubert Violin
Scott Levesque Track Performer, Group Member
Alicia Douchia Viola
Brendan Harney Track Performer, Group Member
Sean Neidlinger Cello
Technical Credits
Greg Calbi Mastering
John Fields Programming, Producer
Dave Fridmann Programming, Producer, Engineer
Ducky Carlisle Engineer
Scott Booker Management
Wheat Composer, Producer, Art Direction
Dave Auchenbach Engineer
John Paulson String Arrangements
Steve Smith Art Direction
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  • Anonymous

    Posted October 1, 2010

    Indie Pop?

    A somewhat strong album, planting itself squarely in the ranks of Coldplay, Keane, Guster, The Postal Service and The Shins. The album is vaguely vapid when it comes to lyrical qualities, but stronger-than-usual guitar and drum work gather some of the ground lost there. "I Met a Girl" appears to be the favorite track, but the harsh introduction and cliche content turns me off. Wheat* shows its real strength on their thirteenth track, "This Rough Magic," with the minute-or-so-long instrumental work. It conjures images of some DMB and David Gray. I would give this album more indie cred than pop success, just based on the sound. I can't wait to see which direction the band takes for their next outing.

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