If you missed Gold Motel at The House Cafe in September, you really missed out.

The Motown inspired retro-pop brainchild of The Hush Sound alumnus Greta Morgan (previously known as Greta Salpeter) filled the coffee house to its tapestries, and all but rocked them from the wall. Mercifully, the gods of power-pop have granted you a second chance.

Gold Motel will be re-appearing at The House Cafe, 263 E. Lincoln Highway, on Saturday to promote their upcoming 7″, “Talking Fiction.”

We caught up with Greta Morgan and guitarist Eric Hehr before they took the stage.

Northern Star: The last time we talked, you said as far as you were concerned The Hush Sound’s hiatus was pretty permanent. About a month later the band announced a reunion show in December. Does this suggest that there is hope for The Hush Sound?

Greta Morgan: We’re going to play one show. We have no plans to tour together or record together, so it’s kind of like one Christmastime show where we can get our really good friends to open for us and we can play for friends and family. We’re not a working band anymore. We’re literally going to rehearse three days before the show and then play the show and that will be it.

NS: Your last album “Summer House” was a self-proclaimed summer record. Has it been strange playing songs from “Summer House” in the fall?

GM: We’re doing a west coast which was really fun, we headlined in Los Angeles we played with Kate Nash, and Steel Train in Texas and all of those places were summer-y and sunny so we haven’t really dealt with if it’s going to strange playing these songs in the fall, but fortunately we’ve got two new songs on our “Talking Fiction” E.P. and those both are a little less weather oriented than straight forward pop songs so those will be out by the end of November.

NS: When I saw you guys at Middlewest Fest, I was expecting to see The Hush Sound’s Greta Salpeter with a back-up band, but you guys really stood out. Eric, you had an enormous amount of stage presence; how do you go about achieving that?

Eric Hehr: Hopefully in the future it won’t be like this, but as of right now, a lot of people who are listening to Gold Motel and are coming to the Gold Motel shows are coming because they know of Greta. The perception from the audience point of view is that before they’re coming to see Gold Motel, they’re coming to see Greta, and to us it’s very much a band, and it’s very much a collaborative effort. I’m trying to do as much as I can to make the band and make myself stick out so I just bought these white boots in L.A. I don’t think I’m that good at guitar and I feel more like a performer than I do a musician so I guess, for my stage presence, half of it is me trying to stick out a little bit, and the other half is me covering up for my musicianship by acting like I know what I’m doing.

GM: First of all, Eric is one of the best guitar players I know. Second of all, now that he’s mentioned the white boots, he better be asked to wear them at the show we’re playing on Saturday.

NS: After Middlewest Fest, I started listening to The Yearbooks, Eric’s previous band, and I’ve noticed a lot of parallels between the group and Gold Motel. Do you think you’ve brought a lot of The Yearbooks into Gold Motel?

EH: The Yearbooks are a project that I wrote all the material for and the “Have a Great Summer” E.P. was very much myself, and I think you can probably find out more of me as a person than you could having a conversation with me. I think the only thing that transfers into Gold Motel thus far is the way I play guitar. I think there are a few times where you can hear the guitar playing from the Yearbooks, both the actual tones from the guitar and the way the chords are being voiced. I started off as a drummer before I played guitar so I approach guitar like a drummer; I play really rhythmically. There is a song on The Yearbooks’ E.P. that is called “Safe in Los Angeles” and that’s basically [the Gold Motel song] “Safe in L.A.” but there’s no lyrics overlapping each other except for the title. When the Yearbooks ended and I joined Gold Motel that was a song that Greta liked a lot and wanted to take and rework. It’s a good example of what a band can do to a song. When I brought “Safe in L.A.” to the Yearbooks we wrote it and performed it in a very distinct way that emulated our influences. When that song was brought to Gold Motel- if you listen to them back-to-back they’re really different songs you can really hear Gold Motel as a band.

NS: In addition to being inspired by your previous modern groups, you guys talk a lot about Gold Motel being inspired by jukebox oldies. What exactly are your retro influences?

GM: Collectively we all really love the Motown collection; you know, the Supremes, the Temptations, Smokey Robinson and all that stuff. We all really like the Beatles and the Beach Boys. Eric and I were just talking about the Knack and how much he loves that album, it’s just a really great example of power-pop. It’s kind of like a venn diagram. We’re in the middle of the venn diagram with all that stuff, all the really great pop music, and then on the outskirts we have a bunch of influences individually.

NS: What should we expect from “Talking Fiction”?

GM: The Talking Fiction 7″ is supposed to hint at what the next album will be. The songs have a little more grit and attitude and feel more like a full band which is really exciting. We just listened to the test for the 7″ and we also listened to the test for “Summer House” because they’re both getting released on vinyl. Listening, we could hear how strong the new songs are. I think they’re the best thing we’ve done. We’re planning to start writing and demo-ing for the next record and hopefully it will just be a pop masterpiece. I guess that’s what we’re aiming for.