The Lexington is an outpost of Angel-ic alternative offerings, showcasing numerous numbers of acts with a powerful hype machine rolling steadily behind them, allowing us mere mortals a glimpse at the indie stars of tomorrow. Guards are one such act, garnering a sumptuous smattering of blog acclaim as they move their sound out of California and towards the rest of the Western world, taking to London stages in recent weeks. They graced The Lexington on the 16th February, alongside London-based band The History of Apple Pie and a fellow American act, Young Buffalo.

The History of Apple Pie are boldly bopping indie pop with calmly collected female vocals and riffs that charge into Arcade Fire territory. They revel in a mixture of 90s indie wail and modern driving power pop, utilising a solemn sweetness to shine past their inexperience. A few more support slots of this vein and a well-produced release could catapult this fruity, pastry bunch into more lauded circles. Young Buffalo are three guys from Mississippi who seem to have been playing together for years beyond their youthful demeanour. Able to effortlessly switch instruments and lead vocal responsibilities, the talented trio are immediately engaging, holding together tightly refined melodies with remarkable ease. Vocally, their soaring, playful choruses are nothing short of wonderful throughout a set that veers between indie pop and American folk, sprinkled with a grungy edge to proceedings.

Just for a little background, Guards is an act formed by Richie Follin, a California based musician who has assembled a selection of musicians who concur with his ideology of heart-felt 70s indie rock that dips into 80s fuzz and 60s jingle-jangle. Joining Richie onstage at The Lexington, playing an odd guitar/keys creation with a serene poise, is his sister, Madeline, also known as one half of Cults (a duo making mega waves after madcap blog reaction last summer). The majority of the band resembles a 70s, trippy dream, complete with long, flowing locks and an airy sense of arm waving hippiedom. They flow to and fro for the majority of their performance (apart from the keyboard/guitarist, who decided to jump headfirst into the 80s, utilising a quiff and jittering dance movements, throwing his body around as the show went on). All peculiarities aside (including some bizarre crow decorations adorning the stage), the musical majesty on display was fitfully faithful to the recordings that roar with a subdued distance on their debut EP. They manage to channel a tunnelled tone through a mixture of quietly coherent trembling and tremendously tumultuous lo-fi thunder, allowing for a wealth of slowly sweltering builds and rapid, resonating declines, evident in 'Crystal Truth', a slow starter.

Guards are a project with something mysteriously otherworldly about them; whether it's the high, floaty vocals, the hush-hush about the band online (who shun Myspace in favour of Bandcamp) or the feeling that maybe we have some time travellers from five different eras here, who have been given modern instruments and production values and the chance to cut loose. Either way, Guards is the brainchild of one brainy child in Richie Follin, and a debut album could either stretch into the ethereal history books or get left behind in the daze of a post-high comedown.