First off, here’s a confession. Having heard 'So Tomorrow' some time ago, I saw fit to deride Official Secrets Act as a load of old pony. It’s not a nice thing to have to do, but I hold my hands up and now admit that the bastard thing has grown on me somewhat. I’d even go as far as to admit that I’m rather fond of it.At the first time of hearing OSA I promised myself I’d never listen to them again, but then I happened upon 'Something That You Want' (not a track included here mind) and fell for its ridiculous pomp as it staggered about like a drunken T-Rex.Another attempt was required. Pushing Steve Lamacq’s patronage to the back of my mind (he’s like a punter that backs every horse in a race, that bloke) it was with a sense of hope that I pressed play and prayed that I wouldn’t be let down.About a year ago it seemed as if every band were pillaging the new wave graves, dressing up the bones, and claiming that the finished result didn’t stink and wasn’t terribly thin. OSA don’t quite fall into that category. It is true that there is a definite new wave element to their sound; it’s there in the throbbing bass line to 'The Girl From The BBC' or the angular guitar of 'So Tomorrow' and the opener 'Mainstream'. But, where OSA differ, is that they’ve got more than one trick. This is not a whole album of economical drumming, clever spiky guitars and dry production. Understanding Electricity touches on those elements, but there’s so much more going on here than a bunch of two minute workouts. What sets Official Secrets Act apart from all the others in the new wave tsunami is vocalist Tom Burke who is versatile and clever enough in his delivery to keep things interesting and a band willing to try to be different ”“ whether it works or not.Understanding Electricity kicks off at a hell of a pace. Like a toploaded spliff, most of the fun can be found in the first few minutes. That’s where all the jerky arrangements and thundering bass lines can be found. 'Hold The Line' possesses a brilliantly funky bass run that comes straight from the 80s in the chorus. As such, it’s no surprise that Tears For Fears get mentioned at least twice in its duration.After all that fun, Official Secrets Act need a bit of a sit down; if it’s quite alright with you. 'A Head For Herod' is quietly brooding and atmospheric, handily showing off Burke’s crooning and the band’s capability to switch gears. It builds slowly towards what should be a climax, but somehow after six minutes the payoff never quite arrives. It’s all pretty enough, but you can’t help but feel cheated by the end. 'Momentary Sanctuary' has some brilliantly proggy keyboards dancing over proceedings but never really gets going. And then there’s 'Bloodsport', a song so 80s it might have appeared on one of those Now Albums with the pig on, the a caption reading “Bloodsport ”“ spent 2 weeks at number 14 in June 1982, then sank without a trace.”Things get back on track with 'Victoria' which has something to do with terrorism apparently. Not that you’ll care, the important thing is that it doesn’t sound like a Thompson Twins b-side. You’ll get lost in the stabbing drums and the vaguely honky tonk piano and thank god that OSA have cleared their heads and got back to having fun.Then it all goes wrong again. 'December' is ill conceived and sounds like it should be in the background of a report from Judith Chalmers. All it lacks is steel drums.Redemption comes with 'Under The Flightpath'. Might be thoroughly boring to some, but seeing as it is has the vibe of a blaxploitation soundtrack written by Brian Wilson I can’t help but love it.Official Secrets Act aren’t the great white hope that some would have you believe, but Understanding Electricity has enough high points to suggest that in time, OSA is a band who could come up with something very special. 69%Official Secrets Act on Myspace