Front woman, poet, and web tour de force Otep Shamaya is an inspiration to thousands, her band a rallying point for many people who want a soundtrack to their hopes and fears. As an unapologetic heavy metal lesbian and a rabble-rouser, Shamaya has been tremendously effective at making meaningful records and assisting the good cause of breaking down peoples’ misunderstandings about progressives and gays. She is a walking example of how spiritual and personal politics and confidence can be so transformative. I am one of the biggest Melvins fans in the world, but always disagreed with interviews where they’ve criticized The Beastie Boys for starting out rapping about partying and evolving to talk about Tibet. Cynically, sure, many artists are out to staple their name to popular causes for more press, but the larger truth is that many people and artists also evolve a deeper social awareness as they grow older or educate themselves. Otep is a great example of a band who have progressed with a positive message that is refined album after album, while still keeping the music just as big of a priority as the message.

With Smash The Control Machine, Otep reminds us there is much still to be done (not that anyone with a brain and a newspaper couldn’t figure that out). “Don’t ask, don’t tell” needs to be revoked and yet Robert Gates is trying to stall for time. Tempers run wild on all types of issues and gridlock is often the norm. People across the country are fragmented, distracted by TMZ or just making bean dip for the Superbowl (the latter of which is fine, I guess. Go Saints!). Meanwhile, Otep have made one of their best records as a band, reuniting on STCM with former members Mark "Moke" Bistany on drums and Rob Patterson on guitar and teaming up with producer Ulrich Wild (Pantera, Taproot, Dethklok) to truly raise the roof AND middle fingers sky high. Don’t hate. Participate. This band has nothing to prove and a lot to teach you, kids.

MORGAN Y. EVANS: I thought it was cool when you got involved with Victory Metal because I am a big fan of past Victory stuff like Shelter’s When 20 Summers Pass, which was pretty outspoken lyrically. Ray Cappo had a great lyric on that record that went “We focus time on what matters least… and our reward, a catastrophe.” That lyric sprang to mind when I was thinking of your new record Smash The Control Machine and how disengaged many people can be from a lifestyle that would actually be more liberating and rewarding. It’s nice to see a very socially conscious artist like you back on Victory. I still like many bands on Victory like Comeback Kid and A Hero A Fake, but I feel that conscious/lifestyle side had been stepped backwards by some acts in recent years. How’d you decide to work with Victory and how has it been going?

OTEP SHAMAYA: Though an Indie Label, Victory is a powerhouse. They have a strong fiscal understanding of the "industry of art" but possess a rebel spirit that accepts and encourages outlaw principles such as those that exist in my heart and mind. I often think of this alliance of Victory Records, my band, and our manager Jack Ponti (CazzyDog Management) as a form of intellectual and spiritual Fight Club, like Mensa with Muscle. I fit right in here.

MYE: How’d you decide on working with original guitarist Rob Patterson again? What was the process like getting acclimated to a studio and creative flow again with Rob?

OS: Rob and I have stayed friends over the years. When we had the chance to write our fourth album, I discussed it with my P.I.C. (partner in crime), Evil J, and we thought it would be fun to reunite in the studio with Rob and Moke, the original drummer. Evil J writes the majority of the music (bass, guitar, and percussion) and has a great working relationship with R & M. Once we were all in a room together, it was like we were never apart. It was magical.

MYE: Please talk some politics with me! I was really happy to have this interview coming up so I could vent and hear your always thoughtful responses on current events. When I last interviewed you it was during the Presidential elections and there was a lot of energy in the air for change. When I saw the name of your new record I was happy. A lot of people thought that once Obama took office, there’d be no more problems. I was pleased with his efforts for stem cell research right near the top of his first year, and he has done some good, but I expected more from him, and not just in the narrow, economic sense most people dwell on. I think he HAS definitely helped the economy recover from many Bush disasters, but in the process also has not delivered on being as progressive as I’d hoped. Obama has sucked up to big Pharma and had a back door deal with insurance companies to kill the public option for health care, and that disgusts me. I am not necessarily against the troop surge because clearly the radicals are still a threat that was never handled correctly by Bush, but now all the Obama ass-kissing to conservatives has eaten up time they took advantage of by digging in their heels and meanwhile it killed the Senate majority. Even worse, they have now retracted it so that major companies can fucking bankroll election ads. It is bad enough corporations have the same exact rights as an individual (like who is gonna win in a lawsuit? Wal-Mart with all their money or me?). There is definitely a control machine firmly in place still. The 60 filibuster thing is even a myth, because if anyone had any backbone they could push shit through anyway! Fuck!!!

OS: It's only been ONE year and President Obama has made great strides in correcting the sins and corruptions of the last EIGHT years. I am still not happy with his lackluster approach to marriage equality and gay rights but I also blame the people for being so lazy. Where is the outrage? Instead of blowing up Facebook & Twitter, write to Congress! Without the passion of the people, President Obama and anyone else with common sense in Congress will be stuck in the sludge of the lobbyists and the Theocrats.

MYE: I agree with you about the eight years thing. People are too quick to forget and blaming Obama for the deficit he inherited is idiotic. Back to the record, what are some of the tracks you are happiest with, either musically or conceptually, in terms of Smash The Control Machine? I like the title track a lot and also your voice on “UR A WMN NOW”. This record seems to have aspects from all your albums in terms of focused aggression and also a mature sense of melodic confidence at times.

OS: Every song on the album is a short story. To me, they are all equally important. I am very proud of “UR A WMN NOW” for many reasons, but personally, it speaks to things very close to me. The third verse is about my mom and I. She taught me the strength and power of being a liberated woman.

MYE: I had slipped from being vegetarian years ago and am really trying to head back towards that direction by eliminating most fatty foods, beef, and chicken and most dairy. Drinking a lot of almond milk instead is yummy. You are a noted vegetarian and I was hoping you’d talk about how you first applied it to your wider lifestyle or if you had any advice for discussing these things with people? I mean, everything is connected to diet… brain function, nerves, etc.

OS: I became a vegetarian as a protest against the slaughterhouse conglomerates that torture and murder the animals they use as food. I found, however, the benefits of this diet were many. I have never been this healthy, felt this strong, or managed my weight so efficiently before.

MYE: I think it is unfair when people say the Otep band is just “nu-metal”. That is too confining but also, every genre has value. There are great thrash bands and ones that suck, of any style. I think you have consistently made passionate records with a lot more depth, especially than other “rap rock” or hard rock bands. People label things in way too biased confines.

OS: We are a fusion band. We incorporate many styles into our music. If they want to call us "nu-metal", so be it. I will continue to write the music that incites and inspires me. I have no use for sobriquets.

MYE: Right on. Four albums into your career, looking back at the arc of things up to the present, how do you feel? How have your goals changed or stayed the same as you’ve grown as an artist and a public figure?

OS: I am very proud of the life I have built. I never thought it would happen. My only goals were to find a way out of the pain and anger and to hopefully connect with others who could understand—either by experience or empathy—to the music and message. We've reached more people than I could ever imagine and it inspires me daily.

MYE: Was there anything you wanted to approach differently than The Ascension, as far as recording techniques or concepts you wanted to include? I thought that was a great record, but I like all your albums. How was working with Ulrich Wild compared to other producers? You guys got some great tones and sounds from everybody on this record.

OS: Ulrich is an artist. He's got an amazing ear for tone and rhythm. I never worked with a producer that had the gift of slipping into our skin and understanding our artistic intentions. I will gladly work with him again. I learned so much and he was amazing in the studio. So many times emotions overtake the artist and he was always there as a beacon to keep us on course.

MYE: I am reading Stephen King and Peter Straub’s Black House right now, the sequel to The Talisman. I think King is partly successful a lot of times because he can really capture people’s imaginations with characters that ring of real life, like talking about a scowling janitor in an old folk’s home or a struggling family trying to make sense of life’s hardships. Then once the stage is set for the reader, the weirder concepts and ideas seep in and captivate them. You’ve traveled a lot and talked to many people in America and elsewhere. I think, to make a sort of strange analogy, but…I think you have a similar talent of relating to people in that you are very inclusive but also demand respect and also throw down with some great music. It makes it easier for skeptics or other people to pay attention to what you have to say and maybe be more open-minded when you aren’t only playing music for “hipsters” or whatever.

OS: Thank you.

MYE: Back to the issue of “control”, one thing that has really revolted me is how people are saying progressive political stances are out of touch with the “average”American. First of all, wasn’t this country supposed to be a place where you can do anything and no one has to be average or a certain way? Look at your new album cover or Marilyn Manson’s Portrait Of An American Family. They really send up the happy, smiling nuclear family myth. How outdated are those old 1950’s gender roles!?! Secondly, many people don’t even understand Socialism’s tenets or really think that someone simply having a truck makes them trustworthy? It seems like so much voting is reactionary, and often people end up serving the wider nets cast by bigger interests. I mean, the fact that insurance company stock went up after Scott Brown won his seat, I wanted to barf. Especially in terms of health care, as Massachusetts has better care already than most of the country. It’s just sad. It’s not like anyone wants U.S. citizens to embrace full-blown communism (which I don’t even agree has ever truly existed, as it has usually been just another bastard form of class discrepancy…look at Stalin)! Leaders and politicians care too much about staying in office. It seems like harsher term limits on the House and Senate are really needed.

OS: Again, without the citizens being informed and involved, the rats will run free, breed, feed, and shit all over our democracy. “Rise, Rebel, Resist” is not just a happy mantra, it's a desire. Many people will say, "We have to take our nation back!" Well, I don't think we ever had our nation. It's a dream that exists just beyond our reach. And I want to see the American people push our nation forward towards its promised capacity.

MYE: Can you talk about “Where The River Ends”? How does it feel to execute such a big song? It is a tricky business to write “epic” material, but I think that song shows it can be done tactfully and still be passionate.

OS: The first epic song I ever heard was “The End” by The Doors. It taught me everything music could do. I still slip into a subtle trance every time I listen to that song. “Where The River Ends” celebrates this style of song and I think it was appropriate that it should be on this album. It is the sequel to “Jonestown Tea” and finalizes a very difficult stage in my life.

MYE: How did it feel to be nominated for “Outstanding Music Artist” in the 21st Annual Gay & Lesbian Alliance Against Defamation (GLAAD) Media Awards?

OS: It is one of the most amazing things that's ever happened to me. I am truly honored.