2014 saw self-taught multi-instrumentalist and songwriter Laetitia Tamko release a six-song EP titled Persian Garden via Miscreant Records.

Infinite Worlds would this time be released with the help of Father/Daughter Records, an independent label that boasted bands like Mutual Benefit and Diet Cig.

Several songs appearing on Garden were dusted off and re-recorded for Worlds; "The Embers" was originally named "Sharks" but shifted from "whispered confession to empowering paean"[3] for the full-length.

[2] The duty of mastering was handled by Jamal Ruhe, who had lended his technical talents to recordings including experimental rock collective Swans' The Seer (2012).

[7] "Mal a L'aise", the fourth track, is sung completely in vocalist Laetitia Tamko's native French, one of the languages spoken in her birth country of Cameroon.

"One of the most interesting tracks" on Infinite Worlds, it digs into "guazy" ambient pop, like that of the Cocteau Twins, as well as sound collage "made of a spectral chorus of voices, processed and multiplied."

[3] While some have seen it as chillwave and dream pop,[1][12] it has also been credited with "innocuously weaving late 1990s post-rock with left field electronica", yielding a "near instrumental".

[15] Kevin Lozano for Pitchfork gave the record a glowing assessment, applauding it as "never downtrodden" and "a stunning document of what indie rock can look like from a viewpoint that isn't necessarily widespread in the genre."

"[17] Infinite Worlds and its maker were touched on in Pitchfork's Features Editor Jillian Mapes' essay The Year "Indie Rock" Meant Something Different, released in December 2017.

She noted Perfume Genius, Jay Som, and Moses Sumney, among others such as Vagabon herself, as "all key players in [the genre's] latest revolution.