Alexander O’Connor, also known as Rex Orange County, released his third album last week called, “Pony,” which entails a boyish and hazy, childlike musical palette that falls short in areas despite creative lyricism.
“Pony” is a shorter album than most, with 10 tracks totaling 34 minutes.
O’Connor was first spotted by hip-hop star Tyler, the Creator where he was first highlighted in Tyler’s album, “Flower Boy.”
In “Pony,” O’Connor reflects on an emotional journey, complemented by puppy-ish and poetic vocals as he sings about fake friends, commitment issues and life struggles.
Through its vulnerable and candid lyrics, it follows a bedroom-like alternative sound.
The 21-year-old opens the album with the single “10/10,” which is catchy and emits a reflection of his own life as if he’s discussing it in front of a mirror.
The electric piano sounds might not be keen for everyone, but it’s breezy and sugary in delivery.
“Always,” highlights the young writer’s indifference and falling out of love, singing “But until somebody sits down and tells me that I’m different now / I’ll always be the way I always am.”
It’s an emotive song that’s complemented with jazzy chords and a saucy ballad undertone.
“Laser Lights” is reminiscent of chatty, white boy rap similar to Ed Sheeran, which listeners will either love or hate, and is strangely accompanied by jazzy saxophones and flute sounds.
Many of the songs are extremely lo-fi and simplistic, like the next solo, “Face to Face.” The song is relatively good and changes pace from its slow start at the beginning, expressing a cheeky nature to the album.
Among the most relatable of songs, “Stressed Out,” is an acoustic guitar backed track with a children’s choir as backup vocals.
It conveys a disdain for fake friendships, but as a song, it’s too short, making me yearn for more to hear.
O’Connor channels Frank Ocean in “Pluto Projector,” with a slight hip-hop underscore that’s just a little more nerdy than Ocean’s effortless, smooth delivery.
However, it’s tragic in its lyrics, similar to that of Ocean, reflecting careful arrangements and a dreamy violin that builds on its sentimentality.
O’Connor sings, “And I hope you know that I think about you in every single way / You’re more familiar to me more and more each day,” highlighting an obviously bruised and frail honesty. Throughout the album, O’Connor seems to epitomize a “sad boy era” of music, music in which its projection creates a feeling of sympathy for immature and juvenile boys who can’t quite commit or understand their feelings.
It is clear though that “Pony” attempts to comment on O’Connor’s youthful mentality about love and life as he deals with his own obstacles, so perhaps that was his point within the album.
Some songs are hazy and slightly over-simplistic, but it’s more his musical style than anything.
In the album, O’Connor excels at projecting his quirky and wordy delivery style, which spotlights his incredible ability to overthink. Listeners will either find this relatable or exhaustive.
Many of the songs are tasteful and delightful, something like a perfectly laid out morning brunch with the whole works.
It is easy to understand how young O’Connor is in the music industry and how much room he has to grow.
Listeners might find his frail and quavery vocalizations and outlook on life either comforting or too simplistic.
O’Connor creates clarity for himself as he details the emotional rollercoaster he finds himself in as the album ends in a calm, peaceful track titled “It’s Not the Same Anymore,” which is hopeful in nature.
With interesting delivery style and creative attempts to portray his personal struggles, “Pony” is youthful, trance-like and simplistic, perfect for lovers of ballads and alternative sounds.
