The Popguns
Pop Fiction
“Lovejunky”
7” EP
Where have The Popguns been all of my
life?!?! This feels like the most absurd
oversight in my personal music history.
I remember seeing their albums and singles in the bins at great record stores
like the Ooze, 2nd Avenue,
and the import section at Tower Records
back in the early 90s. I’m sure I read
about them in all the music magazines I read or used to read. Yet for some reason, I never knowingly heard
them. That is until this fall. I guess that is one huge advantage of
technology. Back then, there was little
chance of actually hearing lesser publicized music that was sealed inside a vinyl
jacket, or plastic CD case on the shelves of the better shops, so one had to
stumble upon things by chance, or by taking the risk of purchasing unheard (I’m
sure there are other options, but in my world, there was a lot of debate over
which record I’d never heard I desired more – based solely on word of
mouth). When the “Lovejunky” 7” appeared
as a new release from the wonderful indie pop label Matinée Recordings a couple of months
back, all I had to do was click a button on my computer screen to quash my
curiosity. Let’s just say that the candy
red colored vinyl was ordered right away.
The bright effervescent pop sound
of The Popguns reminds me of why I loved Echobelly so much. “Lovejunky” is upbeat, exciting, jammed with
chiming catchy guitars and Wendy Pickles’ yearning yet smiling vocals,
which in my distorted mind feel like a perfect blend of Echobelly’s Sonya
Madan and Swing Out Sister’s Corrine Drewery (keep in mind
that I have not heard SOS’s continuing career since about 1987, but see my love
of their single “Breakout” elsewhere).
Echobelly may have climbed up and over the Popguns back to get the small
level of notoriety they achieved a few years deeper into the 90s. Whatever the case, they are back and I am
fully on board and asking for more, much like the protagonist of
“Lovejunky.” The two non-LP B-sides here
are so damn good that this 7” is a necessity. The absolutely rocking “Long Way to Fall” has
a massive chorus that feels like it’s been part of my personal soundtrack of
super hits for as long as I can remember.
This song should be marketed as a single by itself! The final clincher is the acoustic “Home
Late,” which has the magical jangling intricacy of The Sundays and a
rainy day quality that always feels comforting.
Likewise, the full length, Pop Fiction, the band’s first in 18
years (where do I find the back catalogue?!) has been on constant repeat for
weeks now. I never grow tired of
it. From the opening ringing guitars of
“City Lights” by Simon Pickles and Greg Dixon – underscored by Pat
Walkington’s bass line – I get shivers up my spine with anticipation. Then comes Tony Bryant’s crashing
mid-tempo drums and Wendy’s melancholic, mixed emotional vocal turn as she says
farewell to a place, a life, a past (“never hear from me again”). The internal tension of the performance is
enhanced by the ever increasing intensity of the guitars as the song
progresses. From the get go, this album
doesn’t feel like a band returning from a long time away, but a band hitting
their stride during a particular fertile creative stretch. They’ve even included a sequel to the still
brand new to me “Waiting for the Winter” single from the 1990 first album, Eugenie, with “Still Waiting for the
Winter.” Where the original version is a
propulsive kiss off to an uncaring lover, this new version is appropriately, a
more reflective second part in the long ago wake of the break up. Wendy’s lyrical imagery is tangible as she
sets the scene of a gathering bringing a group of old companions together and
reminiscing about the girl who has vowed to never come back (“she’s never
coming back again / yeah, I heard that she’s o.k. / still a world away”).
There is a lot of reflection going
on throughout the album, but it all feels so fresh, because of the vibrant
music and Wendy’s wonderful voice, along with tasteful backing vocals from Kate
Mander. “Leaning on the Backline”
brings up memories of a long lost friendship and the curiosity of the
unexplored inside yet another perfect song structure and the fun sing a long
chorus and closing refrain: “and did you find that love was not divine and kisses
not like wine?” Likewise, “Something
Going On” comes on with a striking and sharp repetitive guitar strum and more
curiosity if there was or is some kind of unexplored connection between two
long time acquaintances. The closing
“I’ll See You Later,” on the other hand, has the feel of personal triumph as
Wendy sings about the ignored girl from the past, becoming the sought after
woman and the point is ever emphasized by her soaring vocals in the powerful
chorus.
Every damn song is a keeper. The pure pop of the standing in the wings “If
You Ever Change Your Mind,” and the gliding cool of “Alfa Romeo” are so
addictive and brilliant ear candy. The
only slow down of shiny hooks comes with the back to back slower songs in the
middle section of the album. “Out of
Sight” soars with tasteful feedback atmospherics atop a rumbling beat, as the
lyrics explore the strength of a relationship.
Is it one of convenience? While
the acoustic “Not Your Night Tonight” is a very gentle turn down, as Wendy
sings “cause there’s no ‘us’” to some unfortunate guy who had higher hopes.
This is already one of my favorite
albums of the year and cannot recommend it with any more gusto. Welcome back Popguns! Glad you decided to return to introduce
yourselves.
