On Lætitia Tamko’s 2016 breakout cut, “The Embers,” she hollered, “Run and tell everybody!” over ragged, raging guitars—like a winking command to fans of Mitski, Angel Olsen and Big Thief that there was a new game in town for soul-bearing lyrics and scrappy indie-rock power. On the follow-up to 2017 debut LP Infinite Worlds , though, Tamko—who records as Vagabon—has taken up the promise of her first album’s title. Where Worlds was a masterful rock record, Vagabon creates an entire musical universe to explore. It’s vast in scope, building new, experimental sounds and crossing genre lines with songs that will leave you gasping. Tamko’s songwriting is masterful on this album, illustrating heartbreak with grace. Over the swirling strings and gently swaying bass of album opener “Full Moon in Gemini,” she’s “Tending to the garden that I only just started/ And I know I’ll be done when you won’t be around anymore”—her heart ready to blossom when others would wither. “Water Me Down” indeed seems liquid, with keyboards and synthesizers radiating out like ripples, until pieces of a beat (brushed cymbals, stuttering drums) propel the song forward. This isn’t a guitar record, but it rocks. The vibe is deep and pulsing. It’s unlike her prior work; it’s unlike almost anything. On “Every Woman,” a dreamy, acoustic, moonlit ballad, she knows, “All the women I meet are tired/ They just kick up their feet prior/ ‘Cause we’re not afraid of the war we brought on.” Vagabon feels infinite—full of possibility. It’s nothing short of thrilling.