Clor formed by accident and were signed to a major label after playing only six gigs, but their accelerated scramble through the music industry's hype machine has not robbed them of their manners. "Thank you very very very very very much," says frontman Barry Dobbin (son of the Labour MP Jim Dobbin), visibly humbled as a crowd of bright young things bark and bounce their approval at the Brixton-based six-piece.

Clor's music is a weird beast, an idiosyncratic breed of twist-and-shout electro rock that claims to draw on influences as disparate as ragga and techno, although it sits comfortably within the recent punk-funk trend. Like that of Franz Ferdinand, it's guitar music you can dance to.

But what really drives Clor is the synthesizer, with Bob Earland sending searing electronic notes through every song, driving the rhythm onwards with an ice-cream-van lilt. Even the lyrics take on a percussive quality, their staccato sounds working as punctuation rather than semantics. Making You All Mine and Magic Touch fare particularly well from this speak'n'spell delivery, and recent single Love and Pain truly comes into its own tonight.

Clor are not an entirely sleek proposition, however. Their artwork and videos follow a strict black-and-white aesthetic, but the band are a scruffy and sometimes comical bunch. "Watch out, you're entering the danger zone/ We might start something that's emotional," trills Dobbins in a falsetto during their next single, Outlines. Whether he intended those words to trigger heady memories of Top Gun remains unclear.

Unfortunately, what with this being a late-night show in a humid Camden pub, Dobbin can't quite organise us into doing Clor's special dance routine: a variation on the running man that involves a lot of jogging on the spot. But, unlike the dance, the band really are going somewhere.