In some ways, she hasn't changed since her then-Guadalajara-based group Le Butcherettes came to fame in 2011 with their album Sin Sin Sin
. The act performed
in aprons drenched in fake blood, with severed hog heads and chunks of meat on display, all incredibly direct metaphors about misogyny, sexism, and the unsolved murders of women in Ciudad Juarez. The performances were insane and amazing
Then, as now - on the eve of Le Butcherettes' new album Cry Is For the Flies
, out on Thursday - she wears her brown hair long, her eyes still widen and she still holds her hands up as if balancing invisible plates when she waxes philosophical.
But said philosophies have changed dramatically. "I was super ambitious, you could even say pretentious," she admits of her past self, "and I wanted to take over the world with my meat on my back." She's since shed the apron, the severed heads and the political soapbox.
"I used to travel with a suitcase full of meat and I had to learn to be practical," she continues. "Let the words speak out more. Use your words as meat, not the meat as meat."
She's also mostly shed her former persona, Teri Gender Bender, and become more comfortable in her own skin, willing to reveal herself.
It's the result of a lot of upheaval. In 2011, Suarez decided to leave Mexico and continue her career in Los Angeles, away from friends and family.
Another big change was the introduction of drummer Lia Braswell (below), who
contributed to Cry Is For The Flies
with Suarez, and sits across from her today. Braswell is the Bonnie to Suarez's Clyde, or the Morticia to her Gomez.
The two met at SXSW in Austin in 2011 when their bands performed at the same showcase. They immediately clicked and, months later, Suarez parted ways with bandmates Jonathan Hitschke and Gabe Serbian, and recruited Braswell.
Teresa Suarez sits at a table inside the