Sleater-Kinney/R.E.M. supergroup, to us, is a little super…
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Claire Biddles: When I first heard that Filthy Friends was a supergroup featuring members of SLEATER-KINNEY AND R.E.M. (!!!!) who initially formed to do DAVID BOWIE COVERS (!!!!!!!) I knew I was in for a fun ride, and “The Arrival” is a super fun introduction. Corin Tucker’s distinctive vocal means that S-K comparisons are inevitable, and I’m glad of the meaty instrumentation that’s reminiscent of their more recent records. Everyone involved is obviously having a hell of a time, which usually leaves me feeling suspicious, like the listeners’ enjoyment can’t possibly match that of the band playing, but it translates. There’s nothing groundbreaking here, but does there need to be?
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Thomas Inskeep: Down ‘n dirty rock ‘n fuckin’ roll, just like it should be.
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Ashley John: From a group with a mission statement that changes from exploring new genres to protesting Trump’s presidency, “The Arrival” doesn’t require a strong thesis statement to be a solid track. Corin Tucker’s vocals soar, but the rolling drums form the backbone that binds the track together. The song ends just before it becomes too much, the only restraint in this boundless boom of a single.
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Austin Brown: Peter Buck’s signature chromatic guitar figures don’t sound as out of place as I might’ve thought in what’s otherwise a barnstorming Corin Tucker vocal showcase. That doesn’t mean that it’s seamless, though–the stitching keeping these disparate aesthetic impulses together shows.
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Ryo Miyauchi: Corin Tucker’s howls in Sleater-Kinney sounded like one side of a fierce argument with its coiled guitars resembling the wrestling match unfolding on record. As she screams here, she’s in dire need of a peer who can even out the fight. Laid-back guitar riffs made better companions for her in Filthy Friends’ softer cuts. The one in “Arrival,” meanwhile, plays a limp sparring partner.
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Joshua Minsoo Kim: A swirling vortex of a song when Corin’s singing. When she stops, the band chugs along and it’s revealed that this is more of a sluggish, controlled wave pool.
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Alfred Soto: This post-punk Traveling Wilburys could use more spring in its step and anarchy to accompany the good will. Like good post-punkers, not to mention students of the Wilburys, “The Arrival” doesn’t overstay its welcome.
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