If there is one band that can do no wrong at the moment it’s Warpaint. The LA based four piece signed to Rough Trade last October and in the 12 months since then have followed in the footsteps of fellow Californian’s Best Coast in ascending the buzz charts. But whereas the afore mentioned surf pop aficionados sun kissed output has been brewing for just under two years, Warpaint have been bubbling under since 2004 with various line-up changes resulting in 2009’s Exquisite Corpse EP and the now all girl format.

It’s been only 6 months since Warpaint played their debut European show to a small but highly excitable crowd at London’s Luminaire, and tonight sees them stepping out in front of a sold out Scala. But before they can do so, it’s Dalston’s Hannah and Colette Thurlow’s turn, or 2:54 as their musical moniker denotes. Apparently named after their favourite moment in a Melvin’s song, 2:54 are the calm before the storm.

With a set of vocals that can be as ethereal as Emily Kokal’s but in turn can snarl like Brody Dalle’s, 2:54’s break through track ‘Creeping’ had the internet buzzing a few months back. Tonight’s melancholic melodies are populated by abrasive doses of shoegaze, harsh metallic crashes and sensual, sultry undercurrents. 2:54’s harmonies are hypnotic and ambient yet also tinged with a gritty punk sensibility, one which has the entire crowd dancing by the end.

It’s unfortunate then that they are followed by Fiction. Formed in 2009 by Mike Barrett James Howard, Daniel Djan and Nick Barrett the quartet’s electronic driven indie pop is perfectly executed and intricately composed, but most of all it’s uninspiring. Dipping in and out of genres, if the right formula is found, should be interesting, electrifying and contagious. Alternatively if the equation is off it should be just plain awful but never just bland: luckily Warpaint promise to be anything but.

Stepping on stage Theresa Wayman, Jenny Lee Lindberg, Stella Mozgawa and Kokal are confident and enchanting from the off. As the opening instrumentals crackle through the air, and the sultry harmonised vocals ring out there is a distinct feeling of being caught up amidst the gushing hype that seems to follow these girls wherever they go. It’s a hard thing to escape – especially when they really are just absolutely breathtaking.

Seamlessly flowing from The Fool’s ‘Set Your Arms Down’ to Exquisite Corpse’s ‘Stars’ their own unique blend of psychedelic a cappella vocals and art-rock is mesmerising. All at once subdued and sultry, infectious and howling, dark and hopeful Warpaint perform impeccably. Even when their equipment fails them during ‘Composure’ Kokal’s piercing screeches and Mozgawa’s improvised drum loop keeps the sparse electro infused melody running.

The bass line of ‘Beetles’ reverberates so heavily that a single piece of glitter is dislodged from the rafters as the lyrics soar delicately above thunderous percussion. Whilst album highlight ‘Undertow’ is stunningly beautiful; Mozgawa is a phenomenal drummer and Wayman, Lindberg and Kokal’s haunting vocals twist around one another so softly the crowd finds them self drawing a deep breath.

Finishing with the captivating ‘Billie Holiday’ the audience is suddenly hushed and I’m sure there are plenty of hairs standing on end. As the sing along to the gentle coos of “B-I-L-L-I-E-H-O-L-I-D-A-Y” ensues there is a real sense of seeing something special this evening; it seems likely Warpaint are destined for bigger things, and soon enough less intimate venues.