FANS: The Pipettes sound as if they didn’t give a damn about being liked, but make ridiculously catchy pop.

What’s going on here is nothing less than an attempt to subvert not just the romantic clichés but the romantic sensibility of pop from within. The band claim to want to recapture something like the (wall of) sound Phil Spector got with the Ronettes and the Crystals. But their sensibility might be derived from the lines Elvis Costello used to kick off “This Year’s Model”: “I don’t wanna kiss you/I don’t wanna touch.” The album maintains a hard, steadfast reserve typified by lines like the ebullient “Your kisses are wasted on me” or the song “Because It’s Not Love (But It’s Still a Feeling).”

Like many pop songs, “Because It’s Not Love (But It’s Still a Feeling)” begins on the dance floor with the singer admitting to the joy of feeling, swept up in the music and movement. But she’s not so swept up that she confuses that feeling with love. And she’s not quite ready to fall into the arms of her partner. As if to take revenge for every female naïf from “Will You Still Love Me Tomorrow” to “I Wonder If I Take You Home,” “One Night Stand” exults in telling a Don Juan that this encounter is nothing but sex, and it turns the tables on every “Why do stars fall down from the sky?” pop lyric with the mocking “Baby did it hurt when you fell from heaven?” The best lines in an album of dry-ice weenie shrinkers may be the tossed-off “Lacking in imagination/He said hello.”

Which is not to suggest that the Pipettes show contempt for the pop forms they are aping or indulge in anything as simple-minded as pomo irony. These girls are fans, and you hear that in the Del Shannon guitar that opens “Why Did You Stay?”, the strings that sweeten “Tell Me What You Want,” the cheerleader chants of the title track and “Your Kisses Are Wasted.” Most of all you hear it in the petulance of “It Hurts To See You Dance So Well,” an almost perfect pop song, in which the singer sees her boyfriend strutting his stuff for other girls.

And you hear it in “Judy,” the album’s best song, which both seals the Pipettes’ dedication to this music and offers a way out. It’s a song, like so many pop songs, of secret longing — the singer worships the school tough girl, who is also such a beauty that the boys lust after her and the other girls hate her. They become friends, and in a lyric shift that’s the equivalent of an edit in a movie that jumps the story forward by years, she imagines what life holds for this teen goddess beyond the bubble of high school. “Judy/What ya gonna do/When you’re older/And no one wants to know ya?” the Pipettes sing, gaining the type of strength some people do when they escape the cliques of high school. “I will look out for you/If you will look our for me,” she promises, and for a fleeting moment, you feel what you feel when Ronnie Spector sings, “Baby I love only you.” It’s one of those pop moments where the feeling in a promise made is almost as good as the strength of a promise kept.