SUPPRESSIVE ACTS: Actions or omissions undertaken knowingly to suppress, reduce or impede Scientology or Scientologists. (Such actions are high crimes and result in dismissal from Scientology and its organizations.)

'Suppressive Acts I-X' is a collection of ten songs that try to bind a history of metal to a career in electronica, with more or less success. Metal song aside, the album is a study in thriftiness; reusing a base of 50 or so samples and manipulating them enough to render them useful across an entire album. Such a constraint makes for a far more cohesive outing than 2000's 'Gearhound'... If 'Gearhound' was schizophrenic, 'Suppressive Acts I-X' is meticulous paranoia.

In keeping with its namesake, 'Suppressive Acts I-X' was meant to be a chip on the shoulder, you are with us or against us... but not in the anal expulsive manner of past Lesser records. Possibly it is more reflective. Probably it is less annoying. Surely it is ten more Lesser songs.

'Suppressive Acts I-X' also includes an album by Lesser's pre-electro-clash fake 80's band The Robotic (think Men Without Hats), recorded in 1995, in MP3 format as well as some videos or something.

Lesser is the brainchild of J Derck, who began his musical career in San Diego as a member of various punk rock bands including A Minor Forest. J adopted the name Lesser to express a new punk aesthetic through electronic music. He moved to San Francisco where he hooked up with leading lights in the electronic music scene such as Kid 606, bLevin bLectum and Matmos. His collaborations with Matmos lead him to work with Bjork on her Vespertine tour last year.

".. an itchy, tinnitus-inducing brand of beat mayhem or spasmodic hop hop surrealism. Its like a hundred vintage arcade games being pulverized by a pneumatic drill."
-- Gal Detourn “ Future Music

"Distorted beatbox sounds, baffled squalls of guitar, drillnbass screechings and an inspired general misuse of sonic machinery." Time Out

"Lesser prowls the hinterlands of experimental electronica with polymorphous perversity." The Evening Standard

"a baffling squall of overdriven guitar, distorted beatboxing, orgasmic grunts and drumnbass rhythms behind the chaos there is structure but not of the linear sort." The Wire
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