Posts Tagged ‘Vagabon’

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Sharon Van Etten‘s sophomore album “epic” turned ten years old last September and to celebrate, the veteran singer-songwriter will release a deluxe version of the album,epic Ten”. The two-disc collection features the original album on one CD and a collection of covers on the other. Featured artists on the covers disc include Fiona AppleCourtney Barnett and VagabonLucinda WilliamsBig Red Machine (Aaron Dessner and Justin Vernon), ShamirIDLES, and St. Panther.

On Wednesday, Sharon Van Etten shared Courtney Barnett and Vagabon’s take on “Don’t Do It”.

This marks the latest collaboration for Barnett and Vagabon, who released a collaborative cover of Tim Hardin‘s folk standard, “Reason To Believe”, back in January. Prior to that, the two had shared the stage—also for a performance of “Reason To Believe”—at the Palace Theatre in Los Angeles on February 14th, 2020. That concert, billed as Courtney Barnett & Friends, served as a benefit for Newport Festivals Foundationand also saw appearances from LuciusSharon Van Etten, Father John MistyWaxahatchee, and more.

Barnett and Vagabon’s take on Etten’s “Don’t Do It” sees an amalgamation of all three artist’s unique styles. Etten’s lyrics present the guidepost for Barnett’s grungy, deadpan delivery that is only bolstered by Vagabon’s delicate, if reserved, backing vocals.

Etten said of Barnett,

Courtney Barnett has been an important musical influence on me since 2014, when we first met at The Neptune theater in Seattle. From the first time we met, I felt like I made an immediate friend. From performing together, to having home hangs in between tours, commiserating with the very specific mixed feelings of tour life assimilating back to home life and figuring out the in between as we have been learning how to nurture our domestic lives while paying attention to our creative selves outside of the album and touring cycle. I admire Courtney’s writing style in that she has such a unique and intimate narrative approach while being personal and funny, without giving too much away. I feel connected to her music and perspective, while always wanting to learn more – and as a friend she has offered me guidance and advice while also being an ear when I have been in a rut or when I am in need of a new approach to look at my writing in a new way.⁣

“Don’t Do It” (By Courtney Barnett Feat. Vagabon) on Ba Da Bing!

Singer Songwriter Vagabon teamed up with Courtney Barnett for a cover inspired by Karen Dalton’s version of “Reason to Believe ,” which was originally written and recorded by Tim Hardin in 1965 and covered by a wide range of artists since. After discovering Dalton’s version, “I became obsessed,” says Vagabon, “and so a few days after discovering it, I was encouraged to record a cover of it in my garage.” Barnett adds: “I’m a huge fan of Vagabon and Karen Dalton so this was a dream. They both have a voice that absolutely knocks the wind out of me.”

The decision to have Courtney sing it with me came after we performed it together live at the Palace Theatre in Los Angeles on Valentine’s Day 2020, a month before lockdown. It was fresh in our brains then so not long after the show, CB came over and we recorded her parts. Oliver Hill plays slide guitar on it.”

Vagabon performs Tim Hardin’s “Reason to Believe” featuring Courtney Barnett:

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Halfway through Vagabon’s 2017 debut Infinite Worlds, Lætitia Tamko stepped away from her guitar. The song, “Mal a Laise,” was an exercise in atmosphere, with droning synth loops layered over reverb-heavy vocals murmured in both French and English. It stood at odds with the guitar-centric indie rock production that defined the rest of the record: It was a detour, but it almost felt like a homecoming. Maybe it was. Tamko’s sophomore effort, the self-titled, self-produced Vagabon, is a more formless affair, a cosmic journey through synthetic sounds, lush orchestral suites and lyrical self-realization.

The result is an ambitious album overflowing with generosity and empathy, warm in production and rich in theme, even if it largely lacks the punch that made Infinite Worlds so immediately memorable. But homes are made to shelter aspirations, dreams, fears, anxieties, hopes, doubts. Homes are sanctuaries, and that’s what Tamko has created with Vagabon

Vagabon’s “Every Woman,” from her self-titled album, out now on Nonesuch Records; vinyl out soon:

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Vagabon (aka Lætitia Tamko)’s new album, All The Women In Me, the follow up to her breakout debut, Infinite Worlds, is an artistic leap for Tamko, who wrote and produced the entire album. Guitar-driven melodies are largely absent, replaced by hybridized analog and digital arrangements,

All the Women in Me will be Vagabon’s second album, the follow-up to her 2017-released debut Infinite Worlds, and is her first for Nonesuch. Tamko wrote and produced the entire album herself and plays all the instruments on “Flood Hands,” for example.

Of the single Tamko says in a press release: “‘Flood Hands’ is a track I originally produced and arranged for a well-known pop-duo to have on their album. Knowing I was writing this song for musicians I admire, allowed me this relief from my writer’s block. I used this assignment as a chance to flex my production muscles and write something I wouldn’t have written as a ‘Vagabon’ song a couple years ago. The result felt like a triumph for me in my progression as an artist and I just couldn’t stand to part with the song by the time I was finished.”

The press release Tamko sets the scene for where she was at prior to recording the new album: “I was in a pretty tortured headspace when I returned home from touring Infinite Worlds. That album contained some of the first songs I’d ever written, and more people than I could have ever imagined heard it. I was proud to become a full-time musician and recognized how rare of a thing that is, but was also debilitated by the very same fact. Fear overtook me and I couldn’t write. I felt stagnant and unsure of what to do next.”

Unlike Infinite Worlds, All the Women in Me has less of a straight up indie rock guitar sound, with more electronic textures. “With this album, I wanted to impress myself,” Tamko says in the press release. “I wanted to be curious and I wanted to make big leaps as a producer. All I had access to on the road was my computer and Logic, so naturally I started writing songs electronically with what was at hand.”

Tamko adds: “The drums and vocal forward approach I took on All The Women In Me is drawn from my love for rap and hip-hop production as well as R&B and folk storytelling. That’s the music that got me excited about writing again.”

Vagabon’s “Flood Hands,” from the album ‘All The Women In Me,’ due September 27th on Nonesuch Records.

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Whitney  –  Light Upon The Lake: Demo Recordings

Light Upon The Lake’, the debut from Whitney, was born from early-morning songwriting sessions during one of the most brutal winters in Chicago’s history. Vocalist / drummer Julien Ehrlich and guitarist Max Kakacek began writing unflinching, honest songs about everything from breakups to the passing of Ehrlich’s grandfather. The pair leaned on one another for both honest critique and a sounding board for working through their newly-discovered truths.

The brief, intense period of creativity for the band yielded ‘Light Upon The Lake’s exceptional, unfussy combination of soul, breezy Sixties / Seventies rock and sombre heartbreak woven together by hopeful, golden threads. After critical acclaim and nearly nonstop touring since the album’s 2016 release, Ehrlich and Kakacek are going back to their roots – for the first time, the full demos from ‘Light Upon The Lake’ will be made available. After a whirlwind year following the debut, the demos offer a way for listeners to get a glimpse into the very beginning of Whitney’s sound.

“After almost two years of non-stop touring, we decided we wanted to close the chapter on ‘Light Upon The Lake’ by releasing the songs in their earliest incarnations alongside a cover of a band favorite by Alan Toussaint, and an unreleased track called ‘You and Me’. We’re looking towards LP2 as we finish out the year on the road.”

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Husker Du – Savage Young Du

Experience the punishing sonic origins of a punk icon. Collected here for the first time, and skillfully remastered from original board tapes, demos, and session masters, this collection is an authoritative chronicling of the wellspring and maturation of Grant Hart, Greg Norton and Bob Mould – three St. Paul teenagers who’d go on to become the most heralded trio of the American punk underground. Follow the Hüskers to their earliest gigs in 1979, through extensive road dog touring, and to the start of their partnership with West Coast tastemaker SST Records in 1983 via a massive hardbound book crammed full of photos, flyers, and a sprawling essay with participation from the band. 47 of the 69 songs compiled here are previously unissued, and includes In A Free Land, Everything Falls Apart , and an alternate version Land Speed Record.

3CD – Three CD Remastered Set housed in Die Cut Sleeves. Comes with 144 Page Booklet with 40 previously unpublished photographs and 12,000 word essay by Erin Osmon.

4LP – Four LP Remastered Set housed in Tip on Sleeves. Comes with 108 Page Booklet with 40 previously unpublished photographs and 12,000 word essay by Erin Osmon.

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The Stooges  – Highlights From The Fun House Sessions

1970: The Complete Fun House Sessions was recorded at Elektra Sound Recorders in Los Angeles and compiled from all thirteen reels of multi-track tape that held every note and snippet of studio dialogue. Twelve reels of tape were used during the original sessions, with the thirteenth reel having the takes that would be used on the studio album. This sprawling set which was originally aimed at the collector market would be challenging and cost prohibitive to reissue as a multi-disc vinyl box set. What is presented here is an attempt to assemble some of the best highlights from the Fun House Sessions on an officially-released 2LP set in high quality packaging with a sequence that hopefully proves to be an easier, and more casual listen. Included are some terrific alternate versions of Down on the Street, Loose, Dirt, Funhouse ,1970 and others, pulled from session reels 1, 4,6, 7, 9 & 11 and originally recorded on May 11,12, 15, 18, 21 & 25 of 1970. Also notable is the inclusion of the 17+ minute-version of L.A. Blues, titled as “Freak,” which encompasses the entire fourth side of this set and is the prime example of what makes the Funhouse Sessions both loved and feared simultaneously.

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Angel Olsen –  Phases

Angel Olsen releases Phases, a collection of B-sides, rarities, and demos from the past several years, including a number of never-before released tracks, via Jagjaguwar. Balancing tenacity and tenderness, Phases acts as a deep-dive for longtime fans, as well as a fitting introduction to Olsen’s sprawling sonics for the uninitiated. Fly On Your Wall, previously contributed to the online-only, anti-Trump fundraiser Our First 100 Days, opens Phases, before seamlessly slipping into Special, a brand new song from the My Woman recording sessions. Both How Many Disasters and Sans are first-time listens: home-recorded demos that have never been released, leaning heavily on Olsen’s arresting croon and lonesome guitar. The B-sides compilation is both a testament to Olsen’s enormous musical range and a tidy compilation of tracks that have previously been elusive in one way or another.

LP – Black Vinyl with Download.

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Jane Weaver  –  Modern Kosmology

Modern Kosmology sees Jane Weaver’s melodic-protagonist channeling new depths of creative cosmic energy within. After the huge critical acclaim of 2012’s Fallen By Watchbird, followed by 2015’s exploratory Silver Globe LP winning her unanimous “record of the year accolades” and hefty measures of radio play-listing Jane Weaver’s conceptual trajectory has sent her neo-kosmische penchants to the point of no-return. Jane Weaver’s unwaning yearning for psychoactive pop energy has just reached a new level of magnetism. As snowclones go, Modern Kosmology is the new Silver. Another Spectrum to add to the tension.

CD – Digipack.

LP – Standard LP is standard weight vinyl, black inner and A6 download card.

LP+ – Deluxe LP – 1000 Copies only. Black 180 Gram vinyl, Deluxe metallic foil print sleeve, black inner, 24”x12” fold out poster, A6 download card.

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Vagabon – Infinite Worlds

Reissue on Marathon of the album that came out earlier this year on Father/Daughter records and was a Pitchfork favourite. Within the songs of Laetitia Tamko there are infinite worlds: emotional spaces that grow wider with time, songs within songs that reveal themselves on each listen. Tamko is a multi-instrumentalist and a producer, recording since 2014 as Vagabon. Her forthcoming debut, Infinite Worlds, builds upon Tamko’s stripped-down demos that have been circulating online and throughout the independent music community for the past two years. Tamko’s songs are embedded with her own story and personal history: growing up in Cameroon, her family’s move to New York and adjusting to culture shock. She grew up around music and loved it, but finishing engineering school was a priority before music could start to feel like a real possibility. To date, Tamko mostly listens to East and West African music nostalgic of her childhood, styles of music that influence her own in subtle ways.

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The Raincoats  –  Fairytale In The Supermarket EP

Limited copies are signed by Ana Da Silva. We ThRee reissue The Raincoats’ legendary first 7” E.P. originally released on Rough Trade Records in April 1979, and has been commercially unavailable since its first release. Fairytale in the Supermarket currently features in Mike Mill’s widely acclaimed and Golden Globes nominated new film 20th CenturyDigitally re-mastered from original masters. Original monoprint sleeve design by Ana da Silva.

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R.E.M  – Automatic For The People (25th Anniversary Edition)

Widely considered to be one of the best albums of the 90s, 1992’s Automatic For The People features R.E.M.’s iconic hit singles Nightswimming, Man on the Moon and Everybody Hurts.

2CD – Remastered album plus Live At The 40 Watt Club in a rigid clamshell box with booklet. 4CD – Remastered Deluxe edition boxset features previously unreleased material, including 20 never-before-heard demos, and the previously unreleased tracks Mike’s Pop Song and Devil Rides Backwards. A Blu-ray disc offers the full album (with bonus track Photograph featuring Natalie Merchant) mixed in Dolby Atmos, plus a high-resolution master of the album, music videos, and the original 1992 EPK. Also included is Live At The 40 Watt Club 11/19/92 – a live set performed in R.E.M.’s hometown of Athens, GA.

LP – 180 Gram Heavyweight black vinyl, cut from original analogue tapes at Capitol Studios and download card.

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Ed Tullett and Novo Amor  –  Heiress

After meeting in November 2013, Ed Tullett and Novo Amor (Ali Lacey) quickly began writing to form the basis of what is now “Heiress”, their full-length collaborative record.
Recorded around the release of their two widely lauded collaborative singles (“Faux”, 2014 and “Alps”, 2016), the pair worked sporadically in intense week-long sessions in Cardiff spilling over Lacey’s old and new home-studios, tearing songs down and building them back up again. “Heiress” is noticeably the product of nearly 4 years work – sprawling, ambitious and strikingly deep, it’s a collection of songs both meticulously calculated and deeply felt.

Vagabon has had quite the interesting few months since her debut record Infinite Worlds was released back in February. She’s played countless shows and festivals around The States and beyond, and a clip of “Cold Apartment” was even aired on KCET recentlt. Lætitia Tamko is showing no signs of slowing with her release of her newest visual companion for the song “Fear & Force“. Shot on 35mm film, the video gives a short look into a relationship between two people and how easily it can fall apart. Hit the link above to have a gander at what may be the best music video you’ve ever seen. the video meanders through a day two people spend together. They take a drive. They take a walk in the woods and no one else is in sight. For a fleeting moment, they are the only two who exist. Then they are hurled back to reality and reminded how capable they are of hurting each other. The final shots of the film are perhaps the most stunning. They occupy themselves with another, equally delicate and terrifying relationship: the one you have with yourself.

Lætitia Tamko, who performs as Vagabon, reminds me that intimacy, closeness, is perhaps the most expansive thing there is. “Fear and Force” a single from Tamko’s debut album “Infinite Worlds” , is a heart-wrenching testament to that truth.

Hope you fallen in love with the video and Infinite Worlds record already? Wonderful, because Vagabon is going on tour this autumn with other Father/Daughter Records superstar, NNAMDI OGBONNAYA. lets hope they make it to the UK.

“Fear & Force” by Vagabon off her album “Infinite Worlds” available now on Father/Daughter Records. Vagabon is Lætitia Tamko

Vagabon finds various ways to flood the senses. It’ll either come in a harrowing lyric that sticks in the conscience, or it’ll arrive from a soft drone that gradually envelops.

“Infinite Worlds” released February 24th via Father Daughter Records.

Laetitia Tamko writes poetic indie rock that centers around her life. Under the moniker of Vagabon, she crafts insular tales that defy traditional indie structures and incorporate elements from across the spectrum of r&b, spoken word, traditional rock and bedroom pop.

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Band Members
Laetitia Tamko – Vocals and Guitar
Elise Okusami – Drummer
Maggie Toth – Bassist

Tamko: “Part of the appeal of making underground music is you can figure out your voice as you’re performing."

At a Vagabon show in February at Baby’s All Right, in Williamsburg, 24-year-old Lætitia Tamko stood onstage dressed in black, toting a sunburst Fender Stratocaster and facing an audience who looked nothing like her. A handful of Black faces in a sea of white ones. Still, the place was packed, and the crowd was there to experience her.

Tamko uprooted from Cameroon to Harlem at the age of thirteen, then again to the suburbs of Yonkers. She started writing songs in high school, after her parents gifted her with a guitar and she used an instructional DVD to teach herself how to play. She spent her time at the City College of New York studying electrical and computer engineering — a career path with enough promise and practicality to appease African-immigrant parents. But Tamko picked up pen and guitar again, secretly crafting her album while working full-time. She quit engineering, moved to Brooklyn, and stumbled into the New York’s indie rock scene, forging her own space there.

The chords she once played in the dark took the spotlight that night at her album release show. The stage is where Tamko’s passion and skill meet, and where her worlds collide.

The familiar yet fresh music of her debut, Infinite Worlds, revolves around the nostalgic sound of alternative rock from the Nineties to the early millennium. It’s charged by songs that take us inside her outsider world. She’s hiding, revealing, traveling, unpacking, and affirming that the discomfort of it all is worth the journey.

The delicateness of her speaking voice is matched by the soft strength of her singing, which she calls a “learned skill.” “I taught myself how to be good,” she said. “I don’t think I was bad but, like anything, it can be learned. And part of the appeal of making underground music is that you can kind of figure it out — you can figure out your voice as you’re performing, as you’re making music. You don’t have to be as seasoned. I haven’t taken vocal classes. I’m sure they’re super helpful, but I have found a way to use my voice the way that I want to.”

The bellows, yelps, and harmonizing on Infinite Worlds were a product of her dedication to honing imperfections. Tamko played nearly every instrument on the album — guitar, drums, synth, keyboard. On the surface, it’s indie rock. Underneath, something different is happening. Tamko doesn’t subdue her narrative, nor relinquish the weight of it. Growing up, Tamko didn’t see artists she could identify with, who looked like her and represented the skilled, unpolished musician. But the subtleties in her vocal riffs, polyrhythms, guitar strokes, and synths reflect the inner layers of the music she consumed through the years. The discography of her childhood included everyone from Cameroonian songwriter and novelist Francis Bebey and Malian guitarist Ali Farka Touré to Michael Jackson, Whitney Houston, and Mariah Carey. These days, she plays Migos on repeat, vibes out to Solange, and takes in as much pop music as she can, too.

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If the New York underground scene was something of another home for Vagabon over the preceding couple of years, then “Fear & Force”, the lead track from Infinite Worlds, album unveiled in November, opened up many new doors for Lætitia, gaining plaudits from much further afield, including a number of UK publications. A totemic capturing of her craft, the track is a wonderful burst of impassioned guitar-pop, swelling from a tender, heavy-hearted opening – all memorable vocal refrains and playful production – to something far more robust; the sight and sound of an artist growing in stature right in front of your eyes. As is the case with many joyful musical moments, it’s difficult to pinpoint exactly what makes it such a compelling excursion; something to do with the affection with which it’s delivered, something to do with the sophistication of the voice that carries it.

“I definitely loved performing and singing at a young age,” Lætitia admits, “but that’s a memory I’ve been forced to kind of think of recently, and one that I’d somewhat forgot about. I don’t think I ever thought I could play or sing professionally.” While most artists present there work with this kind of modesty, in this case of Vagabon it’s much more meaningful to acknowledge the work she’s put in to honing her skills, rather than simply write off such endeavours as an excise in humility. “I spent the last few years really working on my voice,” she says, “I played around New York when I could and I’ve been on tour a lot; I’ve worked on it as much as possible and I think the results are finally becoming tangible.”

‘Tangible” is something of an understatement. While ‘Infinite Worlds’ comes beautifully alive in the small, exquisite gaps between her vocals, thanks to Lætitia’s schooled-skill as a music engineer, it’s her voice that really grips. When spoken it’s almost enchantingly delicate; add a the flame of a song to it though and it makes like touch-paper; sparking in to life, as fierce and powerful and vigorous as Lætitia wishes it to be

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Few debut albums in recent memory have been as immediately impressive as Vagabon’s Infinite Worlds. Laetitia Tamko was born in Cameroon, but moved to New York in her teens and her music is filled gorgeous ruminations on where exactly she fits into this mess of life. A first listen to the album opener, “Embers,” for example, showcases what feels like a natural echo in Tamko’s voice, which serves as a spiritual guide through the rest of the album’s rattling drums and inquisitive distortion