Otep have always been a band to embrace or shun, largely due in part to the lead singer's affinity for morbid, self-inflicted vocal spasms and a penchant for cheesy theatrics. Despite the loathing directed towards the group from certain circles, they have amassed a bloodthirsty cult of fans that salivate over every move the outfit makes. After practically disappearing off the map once stints on "Ozzfest" were finished, Otep have returned to bring their metallic gospel to the congregation. Building on the elements first introduced on the "Jihad" EP and later elaborated on the hostile yet uneven "Sevas Tra", "House Of Secrets" finds Otep roaring with the intensity of a female vampire during her menstrual cycle, bloated and pissed off.

There is a certain atmosphere that Otep thrive on, one that is disturbingly dark and resoundingly bleak in tone, and that distinct mood is on full display here. Joey Jordison of Slipknot's presence behind the kit is undoubtedly a tremendous benefit, as his percussive abilities are undeniable and give the group's ritualistic horror-metal a thicker, more dominating thunder which former drummer Mark "Moke" Bistany lacked. Unfortunately he is the one sliver of gold in an overwhelmingly muddy river, as the remaining musicians here are exposed and their weaknesses are all too noticeable. Stampeding guitar riffs collide with chunky bass lines haphazardly, and the few times that Otep scale it down with more introspective anti-melodies one rejoices for the break.

Jordison's presence as session drummer and producer results in an album heavier than it has any right to be and one that desperately wishes to be Slipknot. This is "Iowa" with neither the accessible hooks nor complex song design. The misguided vocal growls lack any true definition, as frontwoman Otep Shamaya's indulgent 'shock' poetry translates poorly to such unstructured sing/screaming. With this effort it has become clear that while she has one vicious scream, Otep is no singer and is lost behind the mic when doing more than the spoken-word melodizing. The band chugs along with a metallic predictability, trying to make up for the awkward vocal transitions by simply attacking their instruments like starving beasts. In doing so they have sacrificed any coherent songwriting ability, barreling recklessly ahead with a stubborn "must be excessively heavy" mentality that leaves little room for direction, much less sense.

For all of the depraved atmospherics and imagery there is little meat on these bones, as Otep have rushed out an album lacking in most every way. With the revolving door of musicians that have funneled through the Otep ranks it seems the focus has been lost, and the attempts at being artistic seem all too identical to their past work, yet with less conviction. Not surprisingly then "House Of Secrets" is an unstable depiction of a group that has had its share of inner-band turmoil and when considering all the wreckage strewn about; this is one house that should be condemned.