Having previously issued a small clutch of cassettes and EPs as a solo artist, Brooklyn-based singer-songwriter Lily Konigsberg makes her debut proper with Lily We Need To Talk Now, a collection of lithe compositions which find their author shifting from the realms of celebratory indie-pop to atmospheric neo-psychedelia, with a few sojourns into the realms of jumpy indie-funk for good measure.
If That's The Way I Like It evokes the triumphant alt-pop of bands including The Beths and Girl Ray, then Don't Be Lazy With Me suggests the hazy atmospherics of Julia Holter or Beach House. Though such eclecticism perhaps comes at the detriment of the album's overhead cohesion, there's no denying that Konigsberg's debut comprises a series of lively and immediately engrossing compositions performed with an obvious flair and enthusiasm. Konigsberg sings with the off-hand ease of one confiding their innermost thoughts to a trusted friend; her lyrics, likewise, strike a compelling balance between heart-on-sleeve intensity and conversational frankness. Coupling that particular trait with the electronica-tinged lo-fi indie rock of Bad Boy, Konigsberg evokes the charming immediacy of '90s US indie stalwarts Quasi and Sleater-Kinney, whilst managing still to place her own spin on well-established genre forms.
Released through Wharf Cat Records, Lily We Need To Talk Now appears on shelves in a couple of different coloured vinyl variants; there's an edition on pink wax and also one on yellow—we're looking at the latter here, though we suspect that both will be of commensurate quality. Upon removing the record from its inner sleeve, initial signs are certainly promising; the LP itself is pressed on heavyweight vinyl and feels great in-hand, also sitting flat on the platter during playback and being free of the warping that can all-too-often mar new vinyl releases. Admittedly, we did pick up on some surface noise during a few of the album's quieter moments but these imperfections were few and far between and the audio itself is sufficiently voluminous—though it is by no means overblown—to mask any potential minor imperfections. Indeed, the mastering is excellent; the LP has been cut at 45 rpm for improved fidelity—a decision that could (and, indeed, should) be made in the case of all sub half-hour albums but that rarely is. Reflective of that, audio quality is impressive throughout, with realistic vocals and snappy drums that pop in the mix.
Packaged in a modest non-gatefold, standard-width sleeve, Lily We Need To Talk Now bears striking portraits of the artist on both its front and back covers, with a mid-sized insert providing a tracklisting and all relevant credits, as well as some further artwork. Although the cardstock used to manufacture the cover is only of standard weight, the sleeve nevertheless feels decently sturdy in-hand and the absence of a barcode printed onto the back cover is always a welcome bonus. Eclectic and infectious, Lily We Need To Talk Now announces Lily Konigsberg as one to watch in the realms of lo-fi rock and stark indie-pop.
