Kono Michi is a front for concert violinist Michi Wiancko (her debut album features works by Ravel, Debussy and Beethoven). On The Living Disappearance she takes on glacial hip-hop beats, minimalist percussion and a late-night ambience to re-invent herself as a left-field pop artist.
The first two minutes are absolutely stunning: the quality of her violin playing is astounding, tender and buoyant, leading the melody over subtle beats that recall Steve Reich and Portishead. Throughout the album, the violin dominates – and so imaginatively, so provocatively, so eloquently: it really is a wonder that no-one thought to use the violin like this earlier. If the EP were all instrumental, it would be a startling fusion of classical and trip-hop values, somehow respecting both genres.
Unfortunately, Kono Michi is a songwriter, and her voice lacks expressiveness- sometimes, she struggles to hold the tune, and she certainly can’t do the atmospheric stuff. The lyrics are pretty bland, but that could be ignored if her voice could cover it. ‘When I Don’t Come Back’ is unfortunately spoiled by a mewling double-tracked vocal: ‘Dark Eyes’ is dull until she shuts up and segues into a violin solo that glides like slick desire.
I’d love Kono Michi to become a success: the music on here is beautiful, and the connections that she makes between trip-hop and classical are unforced and coherent. But she needs to hire a singer.
- Bellowhead - 1 December 2008
- The Vines - 17 June 2008
- Toyko Police Club - 17 June 2008