Vagabon

Plenty has been written about New York-based vocalist/multi-instrumentalist artist/producer Vagabon already. And for good reason: her singular indie pop style is captivating, expectation-defying, and masterfully executed. Her first, full album, Infinite Worlds, debuted in February on Father/Daughter Records, to wide acclaim from places such as DIY Magazine. On it, elements of lo-fi rock blend seamlessly with subtle synths, indie pop sensibilities, and a Dido-esque voice that’s somehow soft and pure, while seasoned with wisdom and soul simultaneously. The results are immersive, gorgeous tracks that straddle the line between the old and the new. She’s crafted works that are equal parts lovely and cool. They evoke comforting nostalgia, while keeping you guessing. Her work is genre-jumping both within songs and throughout the album, but never in a way that feels choppy or unsure.

Indeed, Vagabon seems to have complete control over the stories she wants to tell, and how she chooses to tell them. Whether it’s the rollicking, near-punkish vibe of “Minneapolis;” the sparser, folky lament of “Alive and A Well;” or a song that accelerates from soft and sparse to hard and driving, like “cold apartment,” her instincts prove sharp, and you can’t help but to be pulled along for the ride. Her breathtaking voice and penchant for raw, poignant lyrics (such as: “Take what you need and go/I don’t have it in me to give everyone everything”) are ever-present connecting threads. Her justified confidence in her sound becomes even more apparent in her most recent release, a six- track live session with Audiotree which dropped in April. Manning a guitar, a synth pad setup, and singing, it becomes immediately apparent that none of her talent is false or enhanced. She’s the real deal. Live drums and a moody bass also come into play, making the songs deeper and more echoic.

See it for yourself by checking out a video of “The Embers” here:
http://vagabon.bandcamp.com/track/the-embers-2

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