Rex Orange County, ‘Who Cares?’

Alexander James O’Connor, better known as Rex Orange County, keeps things laidback despite the stresses and anxieties of life on his third album, Who Cares? The 11 tracks are quick and punchy, with the record clocking in at just over 30 minutes. He blends a little electro-pop, a little folk and a pinch of jazz and funk for good measure.

O’Connor opens on an encouraging note with “Keep It Up,” urging listeners to press on during dark times to find something better. The 20-something singing is often so relaxed that it sinks right into the groove, especially in the synth orchestra beats.

O’Connor gets a little help from rapper Tyler, The Creator on “Open A Window,” which naturally flows from the synths of the opening track, building into a rhythm of its own. It’s not the type of song on which you’d necessarily expect a rap feature, and that works to its advantage. Tyler’s flow feels natural over the understated rhythm and adds a different dimension.

After an extended synth intro, the funk grooves kick in on the bouncy “Worth It.” The song is bright and shimmering, and wouldn’t sound out of place on Twenty One Pilots’ Scaled And Icy. O’Connor’s voice stands as the musical focal point again.

“Don’t change a thing/ You are amazing,” O’Connor sings on the lovey-dovey and bouncy “Amazing.” The message of Rex Orange County can get a bit earnest at times, but he’s a believable messenger in getting there. It’s also impressive how much orchestral synths play into the overall feeling of the album. The sentiment of “Amazing” continues into “One In A Million,” another love song that has O’Connor falling head over heels for an admirer.

“If You Want It” is an upbeat electronic track that opens by taking on more of a classical orchestral feel. For such a relatively young artist, O’Connor certainly has his sea legs, as well as a strong sense of what he brings to the table as a singer and songwriter.

The mood turns sour on the frustratingly introspective “7AM,” which has him singing about his insecurities and lack of confidence in himself.

“What if I’m not cut out for this?” O’Connor questions.

Piano- and acoustic-guitar-driven “The Shade” sits atop a light backbeat helping move things forward before the instrumentation falls away for a near-a-cappella bridge. “Making Time” sits toward the end of the album as more of a lo-fi throwback interlude with just O’Connor and his instrument. The airy strums are joined some electronics in the final moments that feed into “Shoot Me Down.”

The latter track, like the preceding ones, has a cinematic rise and fall through the worlds of jazz and classical music. At about five minutes, it’s by far the longest song on the record—and also one of the most satisfying. Rex Orange County concludes with the mid-tempo sway of the record’s title track.

“I want to be happy, too,” O’Connor sings. It’s a sentiment that reigns throughout much of the record.

Follow writer Mike DeWald at Twitter.com/mike_dewald