If you know Rex Orange County, then you’re familiar with the vulnerability of his lyrics and the heart-wrenching beauty of his compositions. But if this is the first time hearing about him, I’m sure it won’t be the last. The singer-songwriter has skilfully entered millions of people’s hearts thanks to his music, which exudes beauty, grief, love, or sorrow. In his latest album, The Alexander Technique, he lays his soul bare in front of his audience. And, in return, what we send him is our unconditional support.
Just last week, Alexander (the artist’s real name) embarked on a tour across North America to present his latest record live. “The set will be very theatrical, we are bringing the creative world and themes of the album to life on the stage, which is why all the venues chosen are theatres,” he explains in this interview. “We also have lots of new gear on stage to work with and are switching up some of the live arrangements as well as playing some covers along the way.” Sounds exciting, doesn’t it? But before all of this came to be, the singer spent over three years writing, composing, deleting, tweaking, improving, recording. And it’s clearly paid off. Today, we speak with him about the perils of comparing yourself to others, how to find balance in your personal life, vulnerability, and much more.
Hi Alexander, it’s a pleasure to speak with you. How are you feeling today and where do you answer us from?
I’m feeling great, thank you! I am currently in Chicago doing rehearsals for the tour. I’ve managed to have some time off to explore too, I visited the Art Institute of Chicago yesterday, which was amazing!
It’s been a couple of weeks since you released your fifth studio album, The Alexander Technique. How has the reception been so far? Are you finally relieved, or are you even more nervous now that you’re about to embark on a tour?
I worked on this album for a really long time so it definitely feels great for it to finally be out in the world. It’s always interesting for me to see which songs people gravitate towards and connect with. I’m really excited to play some of the new music on tour. We’re experimenting a lot with the live arrangements this time, which is challenging but also fun to be switching things up.
Let’s delve into the record because there’s a lot to talk about. First, its title: The Alexander Technique. It actually exists, and it’s an alternative therapy focused on how a poor body posture might cause other health problems. But I guess you’re taking your own spin on it, aren’t you?What does your technique consist of, exactly?
The Alexander Technique felt like a fitting name for this album for multiple reasons. My real name is Alexander and there is a song on the record about going to the doctor with back pain. I also talk about mental health across the record. So the title references the existing practice of The Alexander Technique, which focuses on mind / body awareness.
But as another interpretation, through the process of making this album I experimented a lot musically and lyrically, I made more ideas for this than I have for any of my other albums. Because of that, I had to be really disciplined and work on a process of elimination, to make hard decisions about what was making the cut and what didn’t fit. Sometimes having too many ideas can be overwhelming. So this felt like implementing a whole new way of working for me, a new technique.
But as another interpretation, through the process of making this album I experimented a lot musically and lyrically, I made more ideas for this than I have for any of my other albums. Because of that, I had to be really disciplined and work on a process of elimination, to make hard decisions about what was making the cut and what didn’t fit. Sometimes having too many ideas can be overwhelming. So this felt like implementing a whole new way of working for me, a new technique.
You open the album with Alexander, which approaches physical health. I love how the lyrics are almost conversational, it feels like listeners are watching you live at an intimate bar while you tell a story playing the piano. Could you tell us more how this sort of atmosphere came to be, and why did you feel it important to be the entry point to the rest of the record?
This song is based on a true story of me going to see the doctor and it’s almost diary entry in nature. I wanted it to be the first track on the album as I think it sets the scene for the album title and also documents where my head was at during the process of making this record. I recorded it at Decoy, a residential studio in England. The version that’s on the album was the first version of the song I ever recorded.
That conversation is very important: you’re discussing your back pain with a doctor and ask for a solution (a pill, physiotherapy—anything). But he suggests this pain is probably caused by stress and anger, which is something not treatable by medicine but by psychology and changing your lifestyle. As a major star who’s continuously recording, touring, and attending events, how did you approach that?
I think there are some simple things like trying to get good sleep, eating well, doing some exercise. It’s not easy to always do that, particularly on tour. Along with that, I’ve learned that it’s important to ask for help when struggling. For me having therapy has been a huge help.
One of the fan favourites is Guitar Song, which you released as the first single off of the album. It speaks about the insecurities we all have, especially as teenagers, on body issues. I even sense a feeling of wanting to commit suicide in the lyrics “I couldn’t take the pain, but I was old enough to try / Looking in my reflection and wanting to die.” How have you overcome such difficulties with self-perception and your own image?
I think everyone has moments of self doubt throughout adolescence and adulthood. For me, I have been practicing acceptance and learning to be more present, not worrying too much about the past or the future and trying to not compare myself to others.
Exactly that, comparing yourself to others, is something you bring to light. Growing up as a teenager in the age of social media, I understand that’s almost impossible, and I think the newer generations will have it harder than us. What do you recall from those times? And what advice would you give teenagers and young adults about the perils of social media and trying to mirror other people’s bodies and lifestyles?
When I was younger I compared myself to people a lot. But getting older, I have learned the importance of being grateful for who I am and what I have and to not wish for what I don’t. I have spent a lot less time online in the last few years and it’s been great for me. It’s taught me the value of living in the moment, being present, having real life experiences and relationships.
Social media of course has its benefits but it can be all consuming. It’s important to not spend all your time on there and remember that not everything you see is real and not everything you read is true, there is a lot of misinformation out there. My advice would be to get outside of yourself, spend time in nature, see a friend, have real life experiences.
Social media of course has its benefits but it can be all consuming. It’s important to not spend all your time on there and remember that not everything you see is real and not everything you read is true, there is a lot of misinformation out there. My advice would be to get outside of yourself, spend time in nature, see a friend, have real life experiences.
There’s only one collab in the album: Look Me in the Eyes, with James Blake. It’s heartbreakingly beautiful, and the topic of someone not having the guts to leave you being even more hurtful than splitting up is one that we can all relate to. How did this song and collaboration come to be?
I am such a huge fan of James, he’s an incredible artist. He came down to studio when I was in LA working in Henson. We had a long chat about the state of the music industry and how diffcult it is now for artists starting out. After about four hours of us talking, James was about to leave but I asked if he would play some piano before he left. He then freestyled Look Me In The Eyes, he wrote it on the spot. He then left and I spent the next seven hours trying to perfect my vocal harmonies over his. He’s a genius.
Since you started, you’ve been known for how honest you are. Your lyrics are raw, revealing, and that’s why they speak to so many people. I’d say The Alexander Technique is your most intimate to date, where you strip your soul bare. Do you agree?
I always write with my heart on my sleeve but I agree, this album is my most vulnerable. It’s almost like a diary. While it can be scary to be so honest, I also find the process of writing this way to be cathartic.
This is your longest album to date, and I’ve read you’ve been working on it since at least 2021. So roughly, how has it evolved throughout the years? Did many songs not make the cut? Maybe some were making the cut in the beginning but, after three years, didn’t feel as right?
There were so many ideas for this album that didn’t make the cut! I experimented a lot. Previously I always decided before making an album exactly how many songs I wanted it to be, how I wanted it to sound, when I wanted it released, etc. I would almost lay out a template. For this album I didn’t give myself any guidelines or restrictions, I just wanted to see what came if I kept digging. Which was great in some ways but also challenging.
After previous albums like Who Cares? (2022) and Pony (2019), what would you say were the learnings you’ve incorporated in the making of this new one? What’s changed/evolved and what’s remained the same (if anything)?
Who Cares? was made in two weeks with Benny Sings, it was a very, very quick process where neither the music or lyrics were overthought. We were making quick decisions in the studio, which was very freeing for me because at times I can be a perfectionist. The process of making The Alexander Technique was the total opposite of this, which probably makes it a lot more of a personal record for me, it’s more honest and raw. But I’m really proud of all my albums and I think there is value in switching things up and collaborating with different people who push you out of your comfort zone. But I have learnt that I work well with structure and deadlines.
The music videos you’ve released for this album (Alexander, Guitar Song, The Table, Finally) are as minimalistic as your songs; it’s generally you on a stripped-down setting (a Japanese-inspired house, a pond where you play the guitar, a doctor’s office). What connection do you make between the musical and the visual, and why is it important for you that they’re so cohesive?
The visuals on this album represent the book ends of the record and the overall themes of the album. The album starts with Alexander, the video is very literal, of me going to the doctor with a bad back. The video for Finally, which is the last song on the album, is set in the Japanese tea house, and it’s about letting go and being at peace. I wanted this to be in a very calm setting surrounded by nature. Nick Walker directed all the videos, he is a legend.
You’re now answering this interview, which I’d say is pretty ‘normal’; however, when promoting your work, you’ve done a bit of everything, from going a chicken shop date with Amelia Dimoldenberg (hilarious!) to modelling in photo shoots, to discussing food with @topjaw or playing live at Jimmy Kimmel or Tiny Desk. Is there any one format that you prefer over the other? And being truthful, is dealing with the press and promotion a downside of being such a big artist, or do you actually like it?
I’m grateful for all the press and promo opportunities! But honestly it’s the self-promotion and the social media aspect that I don’t enjoy as much. It has made this particular album challenging at times to promote because being online and the nature of social media is probably the antithesis to what this whole album is about… Being present, not comparing yourself to others, etc.
You’re now preparing for a tour that will take you across North America and the UK, kicking off October 3rd and finishing on February next year. What can the audience expect from your live shows?
The set will be very theatrical, we are bringing the creative world and themes of the album to life on the stage, which is why all the venues chosen are theatres. We also have lots of new gear on stage to work with and are switching up some of the live arrangements as well as playing some covers along the way. I’ve also been working with an amazing stylist, Michele Rafferty; we have made custom suits for me to wear on stage, which has been a really fun and creative process.
As a curiosity, any rituals before going on stage?
I do vocal warm ups, drink hot honey, and the band and I always do a pre-show huddle. Nothing crazy!
To finish, after a stressful day at the studio, or composing, or touring, what is your favourite way to relax?
If I’m at home, I love to go for a swim in the evening to relax. If I’m on tour, I try to get as much rest as possible after shows to help preserve my voice.
