Pigface is one of the scariest groups of musicians ever gathered together on the same disk. I have a strong feeling that one of the main requirements to becoming a member to the Pigface brigade is that you must have no fear.

Produced by Martin Atkins, this incarnation of Pigface--a band with a constant rotation of members- is made up of several "charter members" (Ogre, Hope Nicholls, Martin Atkins, and Genesis P-Orridge) and a few new curious surprises like Shonen Knife, M. Gira and Flea. Other members include Paul Ferguson, Charles Levi, Mike Dillon, Leslie Rankine, Andrew Weiss; you just never know whose snout will turn up next.

With so many very forceful personalities in one band, it's amazing that the music comes together so cleanly while allowing each separate identity to come forth loud and clear. The underlying feel is industrial, but it's also a lot of other things that just don't fit in any category. The fourth track, "Fuck It Up," serves well as the Pigface battle cry. The instrumentation is all over the map, with taiko drummers incorporated on "Asphole," and sitar, cello, horns and tape loops blending together on other tracks so seamlessly that the very label "industrial" is taken to a whole new level. While some of the sound is as hard as it gets, an intensely spiritual aspect also slips in. The impression you're left with is this: If insanity is bliss, then Pigface must be the happiest band in existence.--Tahnee Pain Barbee (San Francisco Weekly)

As the world crumbles around us we can either confront the situatation with all the grim determination at our command or grasp the nightmare firmly in a loving embrace and howling with laughter leap into the abyss on Pigface's fifth outing, they dearly suggest the latter strategy. The hefty slab of variegated tunage, swollen with samples from the last days of the modem of world and lyrics that mostly sound like they were inspired by the graffiti in CB's bathroom, is wrapped around the rhythmic genius of Martin Atkins. Aided by a worthy gang of reprobates-including the likes of Ogilbie, Genesis P. Orridge, Jello Biafra, Lesley Rankine (of the Silverfish) and Flea-the man who supplied much of the momentum, which propelled KillingJoke and early PiL to greatness has lost none of his bone crunching touch- Welcome to the disco of the damned. - Sound Views

Superlarge groups sound horrible when they try to sound superlarge, leveling any talents involved to crass mediocrity. The only people who can gather in groups of twenty with a uniform vision are either cheerleaders or Mormons. Another problematic aspect of trying to sound superlarge is when these groups seriously attempt to display their pluralistic agenda of goals. The problem is that they want to shoot off in many directions while simultaneously maintaining a consistency that keeps the listener from confusion or annoyance. Pigface, led by Killing Joke (among others) drummer Martin Atkins, offer their own solution to this: have good ol' democratic fun. Encompassing a wider range than their past two studio albums, Notes From Thee Underground extends beyond the group's industrial beginnings while maintaining its rhythmic emphasis. Tape loops slide in and out of miasmic blends of sound; vocals ride the wave while drumbeats dominate song structure. Joining in are such diverse people as Genesis P. Orndge (Psychic TV) Ogre (Skinny Puppy), Flea (Red Hot Chili Peppers), Jello Biafra, M. Gira (Swans), Hope Nicholls (Fetchin' Bones) and the members of Shonen Knife who chant the T word in the most adorable way possible. The whole album is merely an enjoyable listen, risking neither rank profundity nor solipsistic vision. What else could you hope for from such a talented group of people? - Splatter Effect

More actual music than their previous releases. Notes... works its way through 14 numbers that demonstrate diversity that musical antiheroes Pigface have become almost legendary for. In bringing together some 30 different artists (among them Flea, Ogre, Shonen Knife and Jello Biafra), these songs range from the industrial clatter of "Your Own You Own" to the grungy "Dive Bomber," sang by Leslie Rankine who, next to provocateur Martin Atkins, shines the brightest here. At this rate Pigface will definitely move out of the "curiosities" section of your CD collection and into the heavy rotation bin. - (D.B.L.) Subnation Vol 2 Issue 9

Stuffing its big snout once again into everyone's business, Pigface emerges from Invisible headquarters in Chicago with 14 new tracks and 30-or-so guest musicians that will stun and amaze the curious and daring. One of the most widely marketable, phenomenal Pigface albums to date; Notes From Thee Underground is a clear move by drummer/producer Martin Atkins to take the group from the sordid depths of the underground music scene to the Big Time air-waves-a move greatly appreciated by those so desperately in need of real stimulus from an otherwise tedious medium. Appearances- among others-by Jello Biafra/ Rea/ Mike Dillon (of K.C.'s Billygoat)/ Shonen Knife and "Big" Paul Ferguson (ex-Killing Joke) make for Pigface's biggest recording project yet, filled with all the angst, bitching/ kicking/ biting and squealing we have come to expect from these unbelievable swine. - Steve Scearce (The Note)

Yeah, yeah. yeah, this has been around for a while, but it's not like I've already reviewed it. I could begin by listing everyone in Pigface and saying what bands they're from, but that would be redundant for one thing. I'm sure you've heard the namedropping a few million times already. For another thing, I personally find Pigface music more interesting than that of most of the other bands anyway. Take a large mish-mash of varying musical styles, add them, and improve, and what do you get...chaos? No. Pigface has definitely come a long way since Gub, the various musicians have grown together and created a style that can be raucous, fun, powerful, melodic, and still completely now together. I'm still in love with the addition of Barb Hunter on cello, managing to range from a classical style to bass accompaniment. And, as always, Mall Schultz's ATG sets an interesting variety into the songs. One of my favorite aspect of Pigface is that if I listen to records that sound like the same song repeating, I get severely bored but, with this band's constant persona fluctuation; (only surpassed by This Mortal Coil in large #'s of non-static members), there's no mistaking the variety. Take vocal ranges from Lesley Rankine's sneering contrast to Chris Connelly on “Ten Ground Or Down,” or Mary Byker on the high parts of “Hips, Tits, Lips, and Power' to the guttural clash of Ogre and En Esch on “I'm Still Alive.” Or musical range — grunge, rock, classical, techno, etc. — take your pick. I'm sure you'll find at least an aspect of it here! If you haven't checked Pigface out yet, do it. If you didn't like their earlier releases, give this one a try. -- Jasmine Sailing (PULSE)

This is what happens when you get all the big names in big time experimental rock together. People like Martin Atkins (various unknown bands), Paul Barker and William Rieflin (Ministry), Ogre (Skinny Pup). En Esch (KMFDM) and more and then let Steve Albini produce the whole mess. What do you get? Well, on first listen it just didn’t knock me off my feet, but being a big fan of these artists individual projects my interest made me listen again. There's some cool stuff here - no industrial disco, just some hard edged rhythms and hypnotic beats as well as interesting, unusual instruments and a variety of vocal styles. All in all pretty decent, a sort of milestone in artists collaboration. - Flipside Magazine