“When Laetitia Tamko released her 2017 debut as Vagabon, the Cameroon-born artist was described as a saviour of indie rock, a genre largely dominated by white performers. The accolades were as limiting as they were well-intentioned, burdening Tamko as a corrective to a sound that probably didn’t represent the sum of her ambition or ability. Whether it’s a natural evolution or a pointed refusal, her”
“Lætitia Tamko’s sophomore record is a subdued celestial voyage”
“Vagabon's Lætitia Tamko is looping back; her self-titled second album is riddled with synths and curious, searching house-pop that's peripherally aware of R&B and West African guitars. It's good both for bobbing heads and bopping feet — both for being alone-alone, and alone-around-others, too. As the self-produced beats repeat themselves, so does Tamko (even the self-title is a repetition). Chor”
“On her self-titled sophomore effort, Laetitia Tamko leaps with both feet into new sounds and new horizons.”
“Vagabon takes a beautiful sidestep on new LP”
“The breakout success of Lætitia Tamko’s first Vagabon album, 2017’s ‘Infinite World’, should have been a validation. Instead it left the Cameroon born, New York based musician in a state of anxiety-induced writer’s block. She broke it by writing a track for a well-known pop duo. Liberated from the constraints of what should constitute ‘Vagabon’, she eschewed the DIY indie-rock with which she made”
