Sin, Sin, Sin is the debut album from Le Butcherettes, which just was recently released, and is already quickly gaining momentum. Originally formed as a duo in 2008 vocalist/guitarist/keyboardist Teri Gender Bender’s brainchild quickly grew into something of a star in the Mexican underground music scene. While living in Guadalajara, Mexico Le Butcherettes managed to record their debut EP Kiss & Kill as well as capture the attention of The Yeah Yeah Yeahs who tapped the group as the opening act on their “It’s Blitz” tour through Mexico.
Their captivating and engaging performances earned them enough cred for an L.A. debt which landed US dates with The Flaming Lips, Jane’s Addiction, Omar Rodriguez Lopez of Mars Volta (Lopez produced Sin, Sin, Sin as well as plays bass on all of the album tracks.) and the Deftones.
Winning an audience over with a live show is a good indicator that a band has some weight and Le Butcherettes seems to win over all who experience their powerful and rough-riding show, including a sizable crowd at SXSW 2011. Almost performance art rather than a concert, Le Butcherettes (Teri Gender Bender, bassist Jonathan Hischke and drummer Gabe Serbian) press a nerve during live performances. Raucous and forceful performances include Teri representing repressed housewives, wearing an apron, while defying the stereotype with lots, and lots of fake blood. Audiences emerge sweaty, weary and at times a little awestruck with what they’ve just witnessed.
Their razor-sharp performance transfers well to the album, Teri’s impressive vocal gymnastics roll from growling ferocity to light-hearted bridges are solid through the entire recording and deliver seemingly-simple-yet-surprisingly-cerebral lyrics. “Leibnez Language” is in reference to the German philosopher, mathematician and linguist while luring the listener in with a catchy keyboard melodies she manages to melt faces with a rage that Courtney Love wishes she’d been able to harness.
A cabaret act could easily fit “The Actress That Ate Rousseau” into an evening show, with its old-fashioned piano and heavy percussion beat that sways with the sultry and seductive voice, truly an amazing piece of work that deserves applause.
“Dress Off” is a simple song, possibly more of a chant set to a simple melody, but when heard in the perspective of the entire album (bear in mind written by a self-described feminist) the lyrics are probably more of a dare, a challenge that says “Come on over here and try because I’ve got something for you.”
With this debut album it’s clear big things are in the future for this trio. They are already appearing at several festivals this summer; keeping themselves busy they are selling out many of their California shows and have some upcoming dates opening for Queens of the Stone Age and in September Iggy & Stooges.
This may not be the music you put on at the family picnic, and not the music turn up at the office for all to hear, but it is a wild ride and worthy of a listen. Le Butcherettes manage to mix social commentary and the discussion of stereotypes with a ferocious yet controlled sound, paying homage to punk, rock and pop all at the same time Le Butcherettes gives a performance that is not to be understated.
By Meredith Underhill