Rolling Stone - 3 stars out of 5 -- "[P]layful, a montage of impulses -- crunchy rock, apocalyptic electro-disco, solo-John Lennon balladry -- that come like whiplash."
Spin - "This record's like a charming stroll through a garden maze with ludicrous traps and surprises around each hedge, dashing lyrical expectations aside and plumbing emotionally fraught harmonies in the same breath"
NME (Magazine) - "Butler uses a broad variety of styles -- classic garage rock'n'roll, new wave, lounge balladry, electric '70s funk, synth-pop -- to deliver eight edge-of-darkness diktats in that confrontational Arcade Fire snarl..."
Paste (magazine) - "[E]very song is a look backward to the alternative strains of rock and roll that'll get you on your feet and shaking like a maniac."
Pitchfork (Website) - "At its most inspired, POLICY resembles a screwball musical adaptation of John Lennon's lost weekend."
Clash (magazine) - "POLICY clocks-in at under 30 minutes, and adopts a rough-around-the edges, garage-band quality in contrast to Arcade Fire's sprawling, orchestral anthems."
Personnel: Jeremy Gara (drums).
Audio Mixer: Mark Lawson.
Recording information: Electric Lady Studios (05/2014); Sonovox Studios (05/2014).
Policy, the debut solo outing from the excitable Arcade Fire multi-instrumentalist and younger brother of frontman Win Butler, casts Will Butler as the less relentlessly earnest of the two siblings, but the genre-hopping eight-song set retains his flagship band's penchant for taking on the big questions of faith, capitalism, and cultural identity in the 21st century, albeit with a decidedly less heavy hand. Defiant opener "Take My Side" is pure Strokes-ian proto-punk peppered with honeyed girl group "shoo-la-la-la's," the icy "Anna" stalks its quarry against a backdrop of coiled, new wave austerity, and the warmly lit ballads "Finish What I Started" and "Sing to Me" invoke names like Dennis Wilson and Father John Misty, but what Policy evokes most of all is Arcade Fire. The fiery and fractured, emotionally charged indie punk foundations of "Son of God" and "What I Want" sound like they were born out of the same sessions that produced The Suburbs' "Month of May," and the hypnotic "Something's Coming," with its psych-kissed, deep pocket groove and elliptical melodies, feels like the lost B-side of Reflektor's "It's Never Over (Oh Orpheus)." ~ James Christopher Monger