Shiokaze to Kogarashi
1. Shiroi Tsuki
It’s funny how much a song sounds better with a full arrangement. Unlike the e.p. version there’s actually piano and some bongos that lead in the song. I’m still not feeling for the shima-uta style that’s prevalent with Minami as I think she sounds really good without it. It’s good that it does make her stand out in this ballad, but seriously she sounds really good without it.
2. Hikari Sasumichi
The first B-side comes up and it’s even more of a simpler ballad than “Shiroi Tsuki”. I really like how the verses are mostly absent of her signature sound which is a plus. Even then she’s not depending on it so much and that makes me a happy person as we get to hear more of her nice vocals. She’s no ayaka, but she can hold her fort down pretty well. I do think the song is a bit better than “Shiroi Tsuki” albeit a little bit better, but that’s because of the more stable vocals here.
3. Shiokaze to Kogarashi
How unexpected that Minami would put out something that’s upbeat and so bouncy. I mean it’s good to finally hear something that’s not a ballad and full of the meh vocals we’re usually stuck with. She’s actually using even less of the shima-uta to the point where it’s not even that noticeable (thank god). At the price of that, her vocals are a bit airy and flat at points since she doesn’t have a good overall vibrato (not shima-uta, but like regular vibrato).
I got to say, of this era, Shiroi Tsuki is her best single since she doesn’t use her shima-uta throughout the entire single which is such a plus. Shiroi Tsuki is a bit like “Ai Tsumugi” in the way she overuses it while both Hikaru Sasumichi and Shiokaze to Kogarashi aren’t dependent on it (the latter not even using it). She probably should get lessons though to get some regular vibrato since Shiokaze to Kogarashi was lacking in that area…Still good single.