AN ACCOMPLISHED classical violinist accustomed to gracing such internationally renowned arenas as Carnegie Hall and the Sydney Opera House, Michi Wiancko, in the guise of her alter-ego Kono Michi, nevertheless seemed positively enthused to be appeari
ng before a mere handful of people in a Glaswegian basement.
Signed to the Scottish indie label Shark Batter, this was among the Brooklyn-based singer and fiddler's first UK gigs. And you rather suspect that by the end of her series of mini-tours across this country over the coming year, she'll be playing to greatly increased numbers.
Backed by members of labelmates The Stone Ghost Collective and Stark Palace, her sound is one of dreamy trip-hop and mournful Japanese lyricism supplemented with rock, folk and even classical elements. Opener When I Don't Come Back swooned and swelled like some restless nightmare, the singer's vocals augmented by her shimmering violin, while Dark Eyes began softly but built to a heavy, string-led salvo evocative of Arabian exoticism.
Though nominally a Stone Ghost composition, War Correspondence is arguably the definitive Michi number and her dismissive, yet crystal clear, vocal felt spiritually detached from the clashing guitar chords and funky beat behind her.
A cover of Camper Van Beethoven's instrumental Opening Theme with mandolin and a buccaneering violin part was appreciatively sought as a reprise from the audience, while her breathy, soulful take on The Look of Love was gorgeousness itself.
The full article contains 243 words and appears in The Scotsman newspaper.
