Indie pop

“My first few albums were all leading up to this in my mind,” says the English artist known as Rex Orange County, speaking of his intimate yet musically fierce forthcoming album. “This is exactly what I’ve always wanted to make.”

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Aptly titled The Alexander Technique, out Sept. 6 on RCA, the album does indeed feel like a defining work. Rex (born Alexander O’Connor) started the project back in 2020, around the same time he was crafting his third album, Who Cares?, on which he worked almost exclusively with Dutch musician and songwriter Benny Sings.

For Alexander, the 26-year-old artist took an entirely different approach. Enlisting his “two best friends,” Jim Reed and Teo Halm, Rex welcomed more collaborators than ever before – particularly musicians, including bass player Pino Palladino, keys players Cory Henry, Finn Carter and Reuben James and pedal steel guitarist Henry Webb-Jenkins. “Particularly those first couple albums I was very like, ‘Please don’t touch this, I know how it should be,’” says Rex. “This was the first time that I had different people’s ideas flying around – and way more songs.”

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Eventually, he realized that Who Cares not only had to be released first, but that The Alexander Technique deserved much more time, saying it “was more ambitious as a whole.” As a result, the artist has emerged with his longest album yet, boasting a tracklist of 16 songs compared to his usual 10. “I never did that before,” he says of the “intense” experience – describing what sounds like a thorough emotional purge. “That’s why it’s the technique.”

“I had this weird thing for the first three years of my career where every song that came out was every song I’d ever written,” he continues. “I had no reason to create one that wasn’t gonna [make it]. I thought it would just confuse me. Which, I’ll admit, it does. But [this album] has evolved so much over such a long time. The deeper you dig, the more you find.”

Since the release of his critically acclaimed debut album, Apricot Princess, in 2017 – which established Rex Orange County as a brutally honest songwriter and well-versed musician – his formulaic approach to album building has worked just fine. His 2019 project Pony debuted at No. 3 on the Billboard 200 and placed him at the forefront of a generation that blended indie alternative-pop with raw writing. 

And while Who Cares? (which debuted at No. 5 on the tally) took bigger pop swings to support its more positive lyricism, Rex assures that The Alexander Technique is where his more emotional writing from that period of time ended up. (In the fall of 2022, the artist pleaded not guilty to six charges of sexual assault; by that December, all charges were dropped.) “It felt like this album was maybe more of a diary entry – what I was getting into and the level of emotional depth,” he says. 

Elsewhere, there’s a personal favorite, “Guitar Song,” which was the first track he made with Reed and Halm. (“The way it sounds is pretty much the way it sounded on the day we made it in 2021 – it’s free and the ending is mental,” he says). He calls “Look Me In the Eyes,” on which he collaborated with James Blake, “the most heartbreaking song I’ve ever heard.” And on standout “Therapy,” he speaks of entering the industry at 17 and therapy at 22 – “and no, I don’t regret a thing,” he sings. “I came up, I fell down, and then I found peace.”

Despite the lengthy runtime, clocking in at just over 50 minutes, Alexander is a masterclass in being succinct, with its opening song “Alexander” – the first song Rex wrote for this album – as the most perfect example. On the near-five-minute song, Rex speak-sings over the piano, as if filling time in between songs at an intimate, dim-lit jazz bar. (Stevie Wonder is a favorite of his.) 

“It was written quite quickly, and that doesn’t always happen for me,” he says of the song, in which he recounts the true story of a frustrating visit to the doctor’s office in 2019. While there, he complained of ongoing back pain, only to be told it was more likely stress and anger and an unsettled mind that was causing him to hurt. “In a weird way, I feel like maybe he was right/I may be using my back pain to distract from the pain of life/Feel it all externally when really it’s just inside,” sings Rex.

“I don’t want a whole album of five-minute stories of me talking over piano, but I do want every song to feel this concise and thoughtful,” he says. “So I was setting myself up for quite a task.”

Ultimately, “Alexander” helped set the tone of the entire album, down to its double entendre of a title. While there is an Alexander Technique – known to help with inner balance, both mentally and physically as a focus of the practice is posture – Rex says that writing this album was what ultimately made him stronger in the end. “As much as I really do still have terrible posture, it was more so being honest – that’s my actual Alexander Technique,” he says. “Me being myself rather than Rex Orange County.”

He plans to translate that shift to his upcoming tour, calling it (much like the album) his most ambitious show to date. He’s been rehearsing since June, sharing that “2008” – a thumping upbeat song with glitchy falsetto harmonies – has been especially fun to play live, while “New Years” has come the most naturally. He also teases plans to switch it up at each show – and while that could mean anything from a different set list to a surprise song à la Taylor Swift, he keeps most details private for now.

The trek will hit select theaters in cities including Chicago, Toronto, New York, Los Angeles and London for mini residencies – likely a one-off for this album, he says – allowing for a more involved set that will be “highly linked to one of the visual locations” seen in his music videos. “The stage is linked with where I’ve been wanting to transport you as a listener,” he says. “[To a] more relaxing state,” 

Considering how much of an artistic statement The Alexander Technique is, Rex admits it does “weirdly” feel like some sort of end. “You have a different perspective,” he says of being in his mid-20s and having worked in the industry for a near-decade. “It’s not the end of the era, but I definitely feel a different level of awareness and maturity, maybe,” he says. “I still love music and I want to keep making music – and I want to keep changing it up. That’s the most important thing to me.”

Seemingly tied for first place, however, is his newfound penchant for prioritizing himself. As he sings, succinctly as ever, on “Therapy”: “I recharged – and returned.”