At the start of the summer, when Avi Buffalo made their bewitching London debut, it was as California psychedelic pop classicists: dreamy guitar arpeggios giving way to occasional soaring solos from Avigdor Zahner-Isenberg, their teen-prodigy leader. Three months on, much has changed: they have shed a keyboard player, they are already playing a batch of songs that didn't appear on their debut album, and Zahner-Isenberg, an extraordinary guitarist, is scaling new heights. His hands flutter up and down the fretboard, over which he hunches, his eyes screwed tight and his mouth twitching, as he wrenches cascades of notes from his instrument, soloing with equal parts beauty and violence.

He isn't engaging in some dry exercise in technique – he's a startlingly gifted songwriter, too, as that debut album proves. But where Buffalo Springfield might have been a model when it was recorded, Zahner-Isenberg now seems to be trying to meld Television and Crazy Horse. Truth Sets In, the album's opener, is transformed from a piece of filigree into fiery rock, and songs close in blizzards of noise. The Crazy Horse part of the equation comes from bass and drums, a sturdy platform over which Zahner-Isenberg extemporises like Tom Verlaine, his squalls sometimes drifting off towards free jazz.

The question that lies before him is whether Avi Buffalo is the best vehicle for his remarkable talent. For all that the current set-up serves his present needs, one itches to hear him alongside players who are his equals, rather than his friends – had he musicians of the calibre Verlaine had beside him in Television, then it's hard to imagine limits to what he could achieve. One doesn't wish to insult his bandmates, who are twice as powerful and effective as they were in May, but at the moment it's as if a young George Best is turning out for Shrewsbury Town: he's the whole show, and everyone knows it. Zahner-Isenberg is already streets ahead of virtually all his indie contemporaries, but there's the potential for greatness here.