the album with chaotic, conflicting drumming, lurching basses, and squealing guitar. Gira repeatedly shouts commands like "be strong", "resist temptation", and "flex your muscles", occasionally inserting a more enigmatic order, like "stick your hand in your eye". As it is with much of the album, "Stay Here" is based upon grinding repetition; Andrew Hannah of The Line of Best Fit described this by writing, "the song goes nowhere but it’s utterly enthralling". Jason Heller of Pitchfork called "Stay Here" angular, disjointed, bone-crushing, and industrialized. The album's second track, "Big Strong Boss", stumbles into an unusual, halting rhythm and Westberg's guitar becomes clearer. Hannah called the song "leeringly sexual" and "unforgiving in its crude approach", and Joseph Rowan of Drowned in Sound compared it to early Killing Joke. "Blackout", the third track of Filth, is a slow, crushing song where the guitar strings "are so loose to lower the pitch that they take on a kind of rubber-band twang when plucked", according to Cole. Gira barks the song's title, and the rhythms prove "weirdly danceable". The fourth song, "Power for Power", is the album's longest at six minutes. Geffen highlighted it as an essential track and described its beat as deep and lurching. The lyrics are typically harrowing, with lines like "use power for power", "use money for cruelty", and "use hate for freedom", and Treblezine's Jeff Terich called it "the most terrifying song you can possibly dance to". The guitar carries a rare, albeit strained, melody. The album's fifth track, "Freak", is a minute-long noise interlude focused on cacophonous tape loops. Some critics called it close to thrash metal and even grindcore. Filth's sixth song, "Right Wrong", is, like its title suggests, confused and contradictory. Heller called it a study in disjointed animosity, and Terich recognized some Kane's swinging style in the groove. "Thank You", the seventh track, "pulses with the classic goth-rock chug of Bauhaus" and the rhythm is a cycle of repeating pummels. The album's eighth and penultimate song, "Weakling", is another overwhelming tug of war between the basses and drumming. Heller wrote that the song "doesn’t denigrate the submissive; this isn’t fascist music, as its unforgiving textures might indicate, but a profound inversion of power". Filth concludes with "Gang", a slow, aggressive song with numerous starts and stops. Cole wrote that it "erupts from the mouth of hell itself as clanging instruments tumble slowly down a hill