Kid in the Corner - Misao McGregor

Kid in the Corner - Misao McGregor

17 December 2020 - Thick Rebel Records

Misao McGregor’s debut album is deeply personal, just as she wants it. The Los Angeles-based singer-songwriter tells stories from a difficult past that makes it difficult to clearly see who we are and what we can be. It’s powerful, carried by strong vocals and production surrounding the comforting tones of a piano. With this record, McGregor opens up her autobiography to allow others to do the same, even if they feel marginalized and neglected. Grab a cup of tea, come to the table, and let McGregor tell her tales while you remember your own.

23 Hours Old

The album beings with a home video clip supported by strings. We’re introduced to McGregor at an early age. The strings effortlessly welcome the piano into the next track.

Blue Boi

Piano carries this tune, rolling over the tracks to introduce McGregor’s voice. Into the chorus, you can feel the sound open up beneath you. The chorus has a gentle flow that isn’t afraid to speak its feelings of wanting to fly away with someone. McGregor describes going along with someone as long “if you be my blue jay,” a bird that is connected to symbols of loyalty. The bridge is striking—the tone of “come to the table” rings profoundly with the chord changes. The singer is unsure of things, but wants to meet this person at the table. She desires trust, and she has it as she comes to the table. The music drops as McGregor introduces one final chorus.

She Was Worlds Above Me

McGregor recalls an early memory of writing a song. You can sense the struggle of trying to do things right. At the chorus, we hear some inspiration as the singer describes this other person “worlds above me.” There is so much admiration and exhilaration from being around this person. The second chorus brings in the warmth of a 90s styled synthesizer and drums. It feels even more nostalgic, preparing the listener for the bridge. The drums are syncopating as the singer feels things tense up at the pain of a lost opportunity: “Didn’t matter that I couldn’t be her beau/ she smiled when he took her hand” she sings of a crush that chose to go in another direction. “Of course it mattered that I couldn’t be her beau…I want to take her hand like so.” The only relief, it feels, comes from what this could become: “I could write a song about that,” she sighs.

Baby Face

In this track, the singer looks to find some meaning behind their thoughts. There is a sense of wondering what really matters to the singer and how they’re seen to the people around them. It’s difficult to find the subject of this song, and from what perspective it’s told. Nonetheless, it’s compelling as McGregor play on relatable conflict. There’s a theme about trying to prove yourself to someone that matters to you, but still doubts you. The “What do I know?” of the chorus feels defiant, with a voice that’s aching to be respected.

Runaway

McGregor’s voice feels soft and angelic in this track. It floats over a pulsing beat that, like her lyrics, wants to move forward and away from somewhere. And yet, she says “you’re my light/ I’m begging you please don’t let me run/ from you.” Perhaps it’s difficult to be around this person daily, but they still hold value in her heart. The bridge continues to build on this, “there’s no use in sticking around.” But there are voices calling from the background that seem to ground the singer. Something that stood out to me in this track was the vocals over the production toward then end. It reminded me of something off Melodrama in the way it carried emotional cargo so swiftly. This is one of my favorites in the album.

Happy Birthday 1999

Another memory, taken from a home video. As it fades, piano welcomes the listener into the next track.

Stay in the Desert

The piano rolled into a plea to someone: stay here. We hear of the singer driving home to what sounds like a funeral or a final goodbye. There’s so much to say to this person, and McGregor starts listing out the memories with this person. “I wonder if you’re listening/ or am I just listing…my feelings for you.” McGregor keeps audio from home videos scattered here as part of the reflection. The bridge follows, with McGregor’s emotive voice alluding to flying over a familiar place. The track ends with the same home video clip that, given the context of the song, feels beautifully shattering.

Eight

This track is more rhythmic. There are echoes, a heavier bass, and lots of questions. The singer gives us heartbreaking memories of long ago when it was all much simpler. In this exploration, it sounds like McGregor thinks of her mother: “I’m reminded of how much pain I must have caused you.” The number eight is used as a marker, helping her define distance and time in her thoughts. There were so many moments of tension and disagreement with this person. So far removed from it, the singer hits us with a painful line: “Every fiber in my soul/ finally thanked you.” The rhythm carries this out through an echoing tunnel.

Weather The Weather

The piano feels heavier to begin the track. The singer reflects on the grittiness of being able to deal with what’s in front of you. It’s not easy, but it’s in her blood. We hear appreciation for someone close to her that made it look so easy. McGregor’s powerful singing falls to a solo with the piano behind: “I was made for this.” The song turns into a stronger tide. McGregor comes into control, warning someone from taking things away. There’s a conflict in the singer’s voice, and though it’s scary to face it, there’s precedence to attack it head on. 

Eventually

Following a ballad-like strength, this track settles down. It’s as if we sit down on our bed and look out a window to a darkening sky. Distant tones and a beating drum build anticipation to the opening lines. McGregor is still trying to figure out so much about herself and the peace she wants to reach. At times, it’s hard to find a moment to breathe. The chorus ends with “I take each day in stride, eventually” as a short instrumental break follow. Maybe there is some time to breathe, after all.  The bridge gives us more insight into this internal conflict behind trying to move on to better things. “I’ll make it,” McGregor leaves the listener as the track carefully tiptoes its way to sleep.

B Major

There’s so much detail in the writing—listen more than once. McGregor finishes the album strong, giving us a chance to hear what she hears. “B Major is the only key that I can’t lie in,” but in what way? The lyrics move back and forth between desires for herself and the reality she sees. The middle break is interesting. It feels slightly detached from the song as it’s led by a short break. In it, the singer wants to be something transcendent, singing about the thought of caring for a child: “I can breathe again knowing that I mean something to them/ to a new life.” We return to B major, letting the piano find its way to the final note: B.