Review: Will Butler - Policy
By Abbie Doyle, Editorial Director
[Merge; 2015]
Rating: 4/5
Key Tracks: “Son of God,” “Something’s Coming,” “Take My Side”
When listening to Policy, it’s impossible to ignore Will Butler’s charming personality. There exists a perfect balance between his infectious vivacity and somber refusals to do anything but lie quietly in the dark. Butler’s childish indulgences are equally offset by adult observations and thoughts; this relatable blend of maturity is representative of the constant rotations one experiences during existence. These turns are achieved lyrically and sonically; the polished honesty is proof that Policy is full of copious amounts of soul and sincerity.
Despite the fact a majority of the album is upbeat in tempo, Butler’s criticism of society is upfront and unforgiving. It’s easy to overlook the amount of anger and dissatisfaction simmering and congealing beneath Butler’s bright, personable appearance. The record is full of bouncy guitar (calling to mind Tom Verlaine), soulful female choirs (reminiscent of the ‘60s British Invasion), groovy bass and tasteful electronic embellishments. Butler’s obvious appreciation of rock ‘n’ roll is all over Arcade Fire’s discography, and this album is going to create doubt in anyone who thinks Will Butler is merely Win Butler’s goofy little brother.
Policy’s motifs are especially intriguing to the Arcade Fire fan. Butler’s deliberation of religion and guilt, as well as his desire to incorporate childlike fun into adulthood, shed massive amount of light on this Butler’s contributions to Arcade Fire. Butler’s masterfully orchestrated ebb and flow of tension in “Son of God” is a near perfect match for the same artfulness achieved in The Suburbs’ “We Used To Wait.” That ever-increasing synth tone, ominously droning in the background to explode at the forefront, is such a specific feeling Butler could probably patent it.
Butler’s fascination with a Christian god is tinged with biting negativity, more often than not delivered in a deceptively cheerful tone. “Son of God” and “Something’s Coming” are entirely focused on his experience with religion, and Butler’s well-articulated scorn is impressive. He not only criticizes an angry and unjust god, but individuals who are eager to “nail all your worries to the cross” (“Anna”).
"And if you’re gonna shame me / Say my name / And if you’re gonna blame me / Well then lay the blame, baby / If the son of god would come down and tell me what’d be my fate now / If the son of god would write it down for me in his own handwriting / Then I’d be good."
This intensity in “Son of God” travels straight into “Something’s Coming.” His reflections on divine beings remain impossible to misinterpret; it’s not a stretch to think Butler isn’t going to Sunday Mass. “The lord, the lord is watching / With his feet up on my bed / The lord, the lord is watching / But he’s not your friend / No he’s not your friend.” The song is propelled by a deviously captivating bass rhythm, while a fuzzy guitar consistently grinds and wails in the background.
Although the focus on religion is heavy, Policy is arguably an album about human behavior. With an almost nonchalant flippancy, he confronts commercialism and the lengths people go in order to attain success, in all its different forms. In addition to “What I Want,” “Anna” is the most obvious criticism of consumerism, and it’s clear that James Murphy’s influence over this artist didn’t stop at Reflektor. The staccato piano-synth combination and spiffy saxophones on “Anna” are simultaneously classy and modern, working in perfect tandem with the words coming out of Butler’s mouth:
“Take out the phone / Sharpen a stone / ‘Cause you got to get moneymoneymoneymoneymoney... / ...Hey little Anna what’s the move / I can’t believe the things you do / Hey little Anna look my way / What’s gonna be the price we pay for the moneymoneymoneymoneymoney...”
Unique solely to Butler is the apathy found in “Sing to Me.” It is his most honest moment on the record; the solemn piano chords and quietly singing string instruments make it feel like Butler is laying himself to rest, allowing him to wash his hands clean of burden.
It isn’t difficult to guess what exactly this burden is. He brings it up in opener “Take My Side.” Jangling power chords and a deliberately nasal vocal tone scream YOUTH at the listener; in case anyone misses it, Butler is sure to clarify with his words. The narrative recalls escaping the suburbs, childhood friendships and the struggle to acclimate to the realities of adulthood. This is a theme massively present in Arcade Fire’s body of work, and Butler’s ability to delineate this message within two very different musical bodies speaks enormously to his talent as a musician.
