By Melissa Fossum
By Lauren Wise
By New Times
By Amanda Savage
By Jason P. Woodbury
By Troy Farah
By New Times
Most of the band's fervent fans, with whom Otep interacts extensively online, agree with that idea. And right now, some of them are seriously upset. The reason? The release of Otep's third full-length album, The Ascension, originally slated for March 20, has been indefinitely delayed amidst a corporate crunch and swirls of speculation that the band's been dropped from its label, the newly merged Capitol Music Group.
Shamaya posted a MySpace bulletin saying no official word had come down to the band that it has been dropped, and Bobbie Gale, head of publicity at Capitol Records, told New Timesthat the band has not been dropped, but that no rescheduled release date has been set for The Ascension.
Obviously, the delay in the CD's release disappoints Shamaya. "Over 2 years of my life poured into an album that sits in a frozen stasis waiting for paperwork and emails and XL & pdf files to be reviewed and stamped in boardrooms somewhere high above the smog and kinetic violence that spirits the frenzied climaxes that nourish me," she wrote on the band's message board. "What a world."
Indeed. The only trajectory for Otep since Shamaya formed the band in late 2000 with bassist eViL J (Jay McGuire) has been forward and up. The hype hit before the band had even recorded a demo. Sharon Osbourne saw Otep play at what was their eighth show ever and booked them for Ozzfest as soon as they came offstage.
Capitol Records then signed the band based solely on the strength of its intense live performances and released Otep's debut, Sevas Tra(that's "art saves" backwards) in 2002. The album was a dark, dense odyssey filled with dizzying power chords, vocals that ranged from singing to screaming to rapping, and lyrics that lashed out at "war serpents," "mental midgets," and "hypocrites" in a haze of hubris and self-made symbolism.
By the time the second album, House of Secrets, came out in 2004, Otep had built a broad fan base, and the album climbed higher on the Billboard charts than Sevas Tra. While on tour for House of Secrets, Shamaya started writing songs for the next album.
That next album became the now-hostage The Ascension, and there's all sorts of newness to it: new producer (Dave Fortman, who's also manned the boards for Evanescence and Mudvayne), new guitarist (Karma Cheema), new drummer (Brian Wolff), new dimensions of sound (power ballads and more intricate structures), and a new recording environment (New Orleans). The record is filled with visceral rhythms and vocal vitriol but brims with more smooth, seductive soundscapes; it's the kind of melodic metal record that the malcontent masses would eat up, if they could buy it.
In addition to writing with longtime musical conspirator eViL j, Shamaya also delved into new collaborations on the album, working with Grammy Award-winning songwriter Holly Knight on the hauntingly heavy ballad "Perfectly Flawed," and with Mudvayne guitarist Greg Tribbett on the songs "Invisible," "Crooked Spoons," and "Confrontation."
"Confrontation" is a politically charged, rap-metal protest anthem, reminiscent of the band's song "Warhead," which appeared on House of Secrets. Both songs level extreme sonic fury at the Bush administration and what Shamaya sees as the methodical dismantling of civilian freedoms.
"When I wrote 'Warhead,' the president, at the time, had a 62 percent approval rating," Shamaya tells New Times, speaking via phone from her L.A. home. "He was feeding us all these big plates of bullshit, just spoon-feeding it right into our little mouths, and everyone else was just taking their bite and saluting it and moving on, where there were a few of us that stood outside the line, like 'That's not chocolate pudding, everybody. That's bullshit.' You can sit there and be spoon-fed bullshit all you want, but I abstain from the bullshit."
But where "Warhead" was a call on the bullshit, "Confrontation" is a call to arms. "I just felt moved to write a protest anthem that would encourage people to get up off their laziness and do something, and celebrate the idea that is democracy," Shamaya says. "It's very frail and fragile, and it can be taken away with just one little amendment here, one little amendment there not just one fell swoop, but tiny nails in the coffin."
As part of its extensive online outreach to its fans, Otep's posted a couple of songs and a sampler from The Ascensionon its MySpace profile, as well as the video for the first single, "Ghostflowers." They've also been fielding video and art submissions for the "Confrontation" video, and holding cyber street team contests, in which fans can win personalized ring tones and signed CDs, or broadcast exclusive Otep tour footage on their Web sites. "I've always thought that the Internet was the greatest way to connect with fans," Shamaya says. "It's 24-hour-a-day visibility. We're gonna really try to find more and more unique ways of connecting with our fans and empowering them to be more creative and be more involved."