Four tracks into Infinite Worlds, Vagabon's eight-song debut, we get a plot twist. For the first three songs, Infinite Worlds is an exercise in fuzzy, melodic, emotionally wrought indie rock. Lætitia Tamko, the Cameroon-born and New York-based musician who records as Vagabon, has a tremulous, expressive voice; she can belt without losing this empathetically shattered quality. And if the album had kept going like that, sounding a bit like Waxahatchee or Hop Along and giving off that serious and catchy heartbreak, it still would've been a great album. But track four is where things take a turn. "Mal à L'aise" is a bloopy synthscape, one that vaguely recalls turn-of-the-millennium retro-futurists like Solex or Buffalo Daughter. Over a warm bed of cheap keyboards, Tamko speaks in French, her first language, burying her voice in the track so deeply that even those of us who speak the language have to strain to understand it, while a gooily haunting vocal sample hums over her. "Mal à L'aise" isn't the most effective song on Infinite Worlds -- in fact, it's probably the worst -- but it shines as a clear indicator. Infinite Worlds isn't just another lo-fi indie rock record. It's something else.