Lily Konigsberg: singer, instrumentalist, lifelong songwriter. Since her early childhood, the Brooklyn-born-and-based artist has occupied her time with music. By the time she won a five-borough battle-of-the-bands contest as a teenager Konigsberg had already been performing solo sets in cafes around her native Park Slope, and in 2013 she would link with fellow Bard classmates Nina Ryser and Ani Ivry-Block to form the egalitarian art-punk outfit Palberta, a beloved DIY scene fixture who have recently come to wider attention on the back of their critically-acclaimed 2021 album ‘Palberta5000.’

Since the early days of Palberta, Konigsberg has been posting solo material on her personal Bandcamp page. Between various other collaborations and musical projects she has released three official EPs under her own name beginning with 2017's Good Time Now, a milestone split release with Andrea Schiavelli, 2018's 4 Picture Tear, and 2020's ‘It’s Just Like All the Clouds,’ her first EP on long-time Palberta home Wharf Cat Records, and a release that began to bring broader attention to Konigsberg's solo work. Today, Konigsberg is announcing a new compilation on Wharf Cat entitled The Best of Lily Konigsberg Right Now, a release that compiles her three EPs alongside the best of her more informal early output into a remastered (or in some cases mastered for the first time) collection. To announce the release Konigsberg is sharing “Owe Me,” an older track she initially demoed with It's Just Like All The Clouds producer Paco Cathcart, that features keyboards from Matt Norman (Horn Horse) and final production handled by Nate Amos (This is Lorelei, Water From Your Eyes).

This compilation is a musical omnibus—the first widely distributed Lily Konigsberg physical release as well as the first vinyl treatment for both ‘Good Time Now’ and ‘4 Picture Tear.’ The collection loosely parallels the melancholic narrative behind the latter, where a mental break triggered Konigsberg’s de­personalized sense of her past self. Of the ‘4 Picture Tear’ EP, Konigsberg says, “I would look at this photo-booth picture I took with Matt [Norman] and cry because I thought I was looking at the person I used to be in that picture and that person was gone.” In retrospect, these three EPs feel like distinctive vignettes of Konigsberg’s pro­gression as a songwriter, each version of her past selves tethered by an invisible thread to the present through musical alliances and fervent introspection.