Vagabon: All the Women in Me

When singer/songwriter/multi-instrumentalist Laetitia Tamko made her full-length debut as Vagabon, it was with the diverse, sometimes volatile Infinite Worlds. The restlessness captured on that album in terms of styles, sounds, and lyrics is replaced by a more mature calm -- even wisdom -- on the reflective Vagabon. A surprising follow-up sonically, Tamko ditches the debuts mix of indie folk, electro-pop, and punky indie rock for more-streamlined software compositions, largely the result of having written most of Vagabon on a laptop while touring. Along with Tamkos smoky, alluring voice, a wafting blend of sustained string and synth textures comprise the core of Home Soon. Its tender, elongated vocal line consists of only a couple repeated clauses, which are also accompanied by atmospheric background vocals that provide another component of the songs ambient harmonies. The decision to make the album an eponymous one becomes more meaningful as lyrics reveal themes of both self-sufficiency and, as in the case of Home Soon, a sense of belonging. In a declaration of the former, the strummed acoustic guitar and subtle refractive synths of Every Woman showcase lyrics like We reserve the right to be full/When were on our own/No Im not alone. Elsewhere, lively album highlight Water Me Down has a similar message alongside a playful arrangement of melodic synth flourishes, trombone-like countermelody, mechanical beats, and varied percussion (small cymbal, shaker, handclaps, and more). While In a Bind begins with a picked acoustic guitar melody and vocals, it soon adds an affirming vocal choir, plucked strings, and muted, shimmering synths. Throughout, Vagabon is remarkable for its calm confidence as well as its soft yet colorful palette. In another twist, after opening with the sensual Full Moon in Gemini and negotiating inclusion, rejection, and self-reliance in between, the album closes with a reprise of the opener by Monako, who offers the song from a male point of view. ~ Marcy Donelson