Interview Massive Scar Era

Massive Scar Era, led by Cherine Amr, blends Egyptian Zār traditions with metal in their latest EP, "Assyad." Cherine explores how these cultural roots shape their unique sound, featuring a powerful collaboration with Chaney Crabb of Entheos.

1. "Assyad" is a deeply cultural project. Can you tell us more about how your experiences with Egyptian Zār traditions influenced the creative process of this EP?

I started the research with an open mind, wanting to understand the tradition from the perspective of the Zar community. I was ready to listen and learn. My process began with the Zar songs, not the metal ones. I first learned the Zar song and let it guide the creation of the metal part. The music is deeply rooted in Zar.

2. The single “School Girls” features vocals from Chaney Crabb of Entheos. How did this collaboration come about, and what unique elements did Chaney bring to the track?

Part of the creation process was understanding my own strengths and finding the right elements to bring my vision to life. For the Mu’allima spirit (the Educator spirit), I wanted a strong, textured voice that other women could look up to, even in the metal world. I’ve been a fan of Chaney's voice and love its depth. I felt she could perfectly embody this spirit and support the conversation between the Mu’allima and the outside world. When I connected with her and explained the concept, she brought it to life just as I imagined. I'm so happy with the result!

3. You’ve described “School Girls” as a dialogue between the Mu’allima spirit and the outside world. Can you elaborate on the significance of this dialogue and how it ties into the themes of the EP?

Every song on this EP is inspired by a Zar spirit. The Mu’allima is part of the Zar world—she’s a leader in the female Zar community.

4. Your music blends progressive rock, post-grunge, Egyptian music, and metal. How do you approach merging these diverse genres into a cohesive sound that resonates with your audience?

I'm Egyptian, and I grew up in Egypt, so naturally, I was exposed to a wide range of Egyptian folk genres. I also have another project where I write pop rock in Egyptian Arabic. All these influences are part of my musical vocabulary, and I consciously choose which ones to highlight when composing songs. I know not every listener will connect with everything, but I have a diverse following from different backgrounds, and I think they can pick up on and relate to some of these influences.

5. What was the songwriting and recording process like for "Assyad"? How did working with artists like Simon McKay and Frédérick Filiatrault shape the final sound of the EP?

Simon’s role went far beyond just being a session musician. Zar heavily relies on polyrhythms and skin drums, so I knew I needed a drummer who was not only skilled but also a creative songwriter. Simon took the time to really understand what he was working with, even before the Zar group arrived in Montreal. I shared all the research materials with him, and his drum arrangements were intuitive yet carefully crafted to leave space for the Zar rhythms to remain at the heart of the songs. His brilliance really shines in the track “Genni Lambo,” which is essentially just him and the Zar group.

Frédérick is incredibly smart, and it was clear right away that he’s someone exposed to a wide range of genres. He joined in the final week of rehearsals and understood that his role was to be the backbone of this wild mix. His taste in effects on the EP was spot on. Simon recommended him, and I could immediately see why—they work so well together as a bassist and drummer.

The real effort came from Mohamed, the leader of the Zar group, Abou El Gheit ensemble. Since the Canadian musicians come from diverse backgrounds, they were somewhat familiar with North African beats and rhythms, even if not at this level of intensity or complexity. But Mohamed and his group had never heard metal in their lives. They had never jammed with metal drummers or heard screaming death metal vocals. In fact, they had never even been to North America before. Yet, they weren’t intimidated by metal at all—they actually loved it. The chemistry between Mohamed and Simon was undeniable; it was as if they had played music together before.

6. Zār is a ritualistic practice involving music and dance. How did you adapt these traditional elements into the modern metal framework, and what challenges did you face in doing so?

I made it very clear to everyone involved that I had no intention of practicing the ritual. My focus was purely on exploring the artistic side of this tradition. However, after finishing writing the songs, we presented an interactive show in Montreal, and we did manage to create a trance with the audience. The Zar musicians were on the floor, moving around and interacting with people, focusing on those who were drawn into the trance. I recorded and videotaped the performance, and you can clearly see how some individuals were fully immersed in the experience with the Zar group. This naturally affected the length of the songs, as we had to maintain eye contact to signal different parts. This is a classic improvisational aspect of a Zar ritual, where the leader communicates with the musicians based on how the "patient" responds to the music. I will share these videos with the EP release. 

7. In “Assyad,” each song is inspired by a specific Zar spirit. Can you share how these spirits influenced the lyrics and music, and what message you hope to convey to listeners?

Muluk al-Ardiyya | The Kings of the Earth | ملوك الأرضية 

Muluk al-Ardiyya is a song for the spirits living on the mainland. They are among the oldest kind of invisible creatures whose agency is related to the forces and life on Earth. 

Abdel Salam Lasmar | عبدالسلام الاسمر

Abdel Salam al-Asmar, a revered religious figure in Libyan Muslim history, lived from 1455 to 1575 CE. Began an ascetic (Zahid) in Libya's expansive desert, known for performing miraculous acts for the needy. Later in life, he became a mujahid (holy warrior), defending his city with fervour. Revered across North Africa, he features in traditions like Zār, Gnawa, and Stanbeli. His militant stance inspired many Sufi orders in anti-colonial and military resistance efforts.
Jinn Lambo | جني يالمبو
Spirit of the fire, Jinn Lambo is a spiteful creature and a servant of Sultan al-Nar, the fire sultan. The music retains strong African elements, maintaining a profound connection to Zār's Eastern African roots. The ritual necessitates the presence of fire and lit candles during the trance dance.

Inner Dialogue

Inner Dialogue is inspired by the Zār song "Salila, the Master of the Water," depicted as a mermaid symbolizing rebirth and abundance. Salila is a captivating yet proud female spirit, drawn to wealth and gold, but also capable of transformative generosity and support for humanity.

El-Leil | The Night | الليل 

"The Night serves as an ode to the day and sun. The benevolent Asyad sings to the night, longing for its swift departure, as darkness is associated with malevolent spirits.

Pretend

Pretend draws its inspiration from the esteemed spirits of Mamma el-Sultan and Sa’det El-Bar. Mamma el-Sultan presides as the revered master over all Zār spirits, while Sa’det El-Bar commands the domain of Al-Midan, the battlefield.

School Girls | بنات المدرسة  (Featuring Chaney Crabb from Entheos)

"Banat al-Madrassa or al-Handasa" reflects a pivotal era in Egyptian society and feminism, highlighting middle and upper-class women's pursuit of higher education in the 1950s. The song embodies women's aspirations and empowerment, with the muealima (spirit) serving as a guide in the female Zār realm and a social archetype for all.

There isn’t a specific message I’m trying to convey. I’m more focused on sharing my experience as a songwriter, along with the lyrics and cultural research behind it. It’s really about letting the audience connect with the entire journey and process rather than delivering a particular message.

8. Montreal has been an important base for you. How has the city’s cultural and musical environment impacted your work, especially with the creation of this EP?

Montreal has a wealth of professional musicians from diverse backgrounds, and I don’t think I could have found such talent and resources anywhere else in Canada. The city itself is incredibly inspiring, with its vibrant cityscape and unique architecture. Being in this environment naturally fosters creativity and enhances the creative process.

9. The track "Muluk al-Ardiyya | The Kings of the Earth" opens the EP. What inspired this song, and why did you choose it as the opener for "Assyad"?

In a traditional Zar ceremony, *Muluk el Ardeya* is the first song they start with, so I wanted to honor this tradition and include it in this EP as well.

10. You’ve worked closely with cultural consultant Dr. Kawkab Tawfik and master Zar musician Muhammed AbouZeid. How did their expertise contribute to the authenticity and depth of the EP?

This EP would never have come to life without them. They were the source of all the resources I needed. Dr. Kawkab offered the academic context and analysis, while Mohamed provided the spiritual background and the practical knowledge he inherited from his ancestors. Mohamed taught me the songs and invited me into his world as a healer.

11. Given the rich history and tradition behind the Zār practices, how do you balance honoring these cultural elements while also pushing the boundaries of modern metal music?

I am very open and clear in my messaging when promoting the release that this is not Zar but inspired by Zar. Working on this EP in a collaborative setting allowed the Zar musicians to contribute their voices to the arrangement. Mohamed arranged all the percussion for the EP and decided which Zar beats to include. Each musician had the opportunity to express their creativity and enjoy the process. Dr. Kawkab’s role as a cultural consultant was crucial for maintaining balance. She attended every rehearsal, provided feedback on the execution, advised on what to wear for the show, and offered detailed input on the lyrics. This highlights the importance of hiring a cultural consultant. Dr. Kawkab has a postdoc in Zar Traditions and is an expert in this field. When working with cultural elements, it’s essential to have consultants from the community who are specialists in the matter.

12. Looking ahead, how do you envision the future of Massive Scar Era and the evolution of your sound? Are there any new cultural or musical directions you’re excited to explore?

Yes, I'm currently in the research phase of an exciting new project that's deeply rooted in Egyptian history and culture. While I’m not ready to share the details just yet, I’m confident that the metal community will be very excited about it. The research is expected to conclude by the end of November, and I plan to begin the production process next summer, provided I secure funding for it.

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