Otep’s forthcoming third full-length album, The Ascension, was written long before the Los Angeles metallers boarded a plane bound for New Orleans — where they’d track the effort with Grammy-winning producer Dave Fortman (Evanescence, Mudvayne) over the course of several months.
During the band’s stay, though, frontwoman Otep Shamaya said she couldn’t help but get caught up in the emotion of living and working in this forgotten, battered metropolis, left devastated in the wake of 2005’s Hurricane Katrina. Shamaya said the cheerless vibe that permeated this once grand city, and the hopeful spirit of the resilient survivors who continue to rebuild their lives down there, bled into Otep’s new material.
“We went there for a couple of reasons: Dave was there, and we wanted to get out of L.A.,” she explained. “It’s very easy for bands to make records where they live, but when you go home every night, it becomes more of a job. You can’t live the album all day, every day. In New Orleans, we could never escape that energy. We also really wanted to try to bring something to the economy of that area, but we didn’t realize how bad it was. Nothing’s happening there.”
When Otep arrived, Fortman drove the band through the city’s Ninth Ward, “and it was shocking. Absolutely shocking. There are entire neighborhoods that are just gone — pulverized. Boats pinned beneath houses. So that kind of seeped into the songs a bit. A part of that energy — part of the people who asked us when they saw us not to forget about them — that did seep into what we were doing. It had to. It was very important for us to include that energy in our music and remember how important art is and what it can do.”
Working with Fortman on The Ascension, which hits stores March 20 and features a cover of Nirvana’s “Breed,” was important for the bandmembers, Shamaya said, because they are huge fans of his previous collaborations.
“We liked the sound of his albums, the tonality of them,” she said. “For the type of band that I think we are, where every instrument counts, I wanted every instrument to have its own voice and tell its own story. With Dave, when you listen to the records he’s made, every instrument has a clear, signature sound. That was really important for us for this album; that’s what we wanted to happen.”
Otep — made up of Shamaya, guitarist Karma Cheema, bassist “Evil” J. McGuire and drummer Brian Wolff — had to refocus their attention for this effort, the singer said, and forget about anything they’d done in the past.
“From my perspective, knowing a lot of bands and listening to a lot of bands, the first record — even if it isn’t their best record — has this energy about it, this risk,” Shamaya said. “It seems that there’s this sophomore curse for most bands, but they still seem to become confident in the idea that they can write the music. But there’s something missing sometimes. I wanted to refocus our attention and pretend this was our first record and really try and not look at what we know, what’s worked and get mixed up in that whole corporate mentality. I wanted to fall back on our instincts and write songs that are important to us.”
On her end, Shamaya feels she’s grown as a growler and that, through her lyrics, she’s become a better storyteller. “I just wanted to be better at what I do. I think our strength lies in our ability to be a fusion band. Every player has their own influences and own styles, and that helps us create something different and new each time.”
But longtime fans shouldn’t expect a complete shift in Otep’s sound. Shamaya said this third set contains the same elements found on the band’s previous LPs, along with several fresh sonic elements. Lyrically, the singer said she derived inspiration from her own observations on society. The track “Invisible,” for instance, is a commentary on conformity, while “Perfectly Flawed” is a song that celebrates “uniqueness, and how we don’t all have to look like supermodels.” “Noose and Nail” is an attack “on the pharmaceutical culture in this country,” while “Home Grown” addresses the issues of domestic violence. “Eat the Children” was inspired by “those mothers who’ve been murdering their children, sometimes in the name of God,” she said.
“Sometimes,” she added, “I wish I could just sit back and write a song about a sunny day or a car passing, but that’s just not the way my instincts work at this point.”
