London quintet White Rose Movement take their name from a group of 1930s students who defiantly resisted Hitler, and were executed for their troubles. It's a noble alignment, but one that also recalls the period in pop when bands routinely flirted with Nazi-era chic, and Spandau Ballet took their name from a concentration camp. The irony is almost certainly not lost on WRM. They filter the sounds and styles of the Spandau-Duran era via starker influences such as Joy Division through 2006 technology. This places them in the territory mapped out by the Killers, the Departure, the Bravery and the Rapture.

It's debatable whether this already crowded bandwagon has room for any more, but WRM have certainly paid attention to detail. Their stage demeanour is probably best described as "haughty"; two of them have immaculate posing hairstyles. Singer Finn Vine has perfected Ian Curtis's electrocution dance moves. Suicide blonde "Taxxi" (Erica to her mum) manages to play eerily accurate Human League keyboards at the same time as wearing a polka dot cocktail dress.

A brief set showcases an urgent melange of hyperactive disco beats and Owen Dyke's pulverising basslines. Vocalist Vine certainly sounds worked up about something, which is probably not the difficulty getting decent eyeliner in Acton. Unfortunately, even within 40 minutes, there isn't enough light and shade, and several songs blur the lines between posturing and soul.

However, in fleeting glimpses they seem to be actually going somewhere with this sound. Particularly, Love Is a Number and the terrific Alsatian breathlessly relocate new romantic in a modern, paranoid urban environment. Only time will tell if this is the start of something, or they've missed the boat.

· At Night & Day, Manchester (0161-236 4597), tomorrow, then touring