MASSIVE SCAR ERA

track-list:
Between Waves
30 Years
Oblivious
Back to the Sun
Color Blind
Endorphins

Songwriting: Cherine Amr
Arabic Music Arrangements: Weka Soliman
Music Copyist: Hugo Mayrand
Sound Technicians: Jacob Lacroix-Cardinal, and Nicolas Pétrowski
Music Producer, mix and master: Etienne Tremblay (La Machine à Mixer)
Recordings: Nicolas Pétrowski and Etienne Tremblay (La Machine à Mixer) at Studio Mixart, Montreal, QC,

Credits:
Kristin Molnar, Zoé Dumais, Rasha Masalkhi – violins
Omar Abou Afach – viola
Mohamed Masmoudi – oud
Nizar Tabcharani – qanun
Phyras Haddad, Bertil Schulrabe – percussions
Julia Geaman – drums
Etienne Tremblay – bass
Cherine Amr – vocals, guitar

Tours and Festivals:
2019 – USA East Coast Tour
– USA West Coast Tour
– D-CAF Music Festival Cairo, Egypt
2018 – No Visa Required Cross Canadian Tour
2017 – Metalocalypstick (Lone Butte, BC)
2016 – Metalocalypstick (Valemount, BC)
2015 – SXSW (Austin, TX)
2014 – Total Metal Festival (Italy)
2014 – Inferno Metal Festival (Norway)
2013 – FreakStock Festival (Borgenstreich, Germany)
2013 – SXSW (Austin, TX)
2012 – Saxstock Festival (Germany)
2012 – Slot Art Festival (Poland)
2011 – Whiskey A Go Go (Los Angeles)
2011 – Metal Asylum, Dubai (UAE)
2011 – Cornerstone Festival, USA
2010 – Dubai Film Festival (UAE)
2010 – Cornerstone Festival (Marietta, IL)
2007 – SOS Music Festival (Egypt)
2008 – Sweden Rock Festival (Sweden)

Shared Stage with:
Kreator, Dream Theatre, Dimmu Borgir, Septic Flesh, The Algorithm, Moonspell, Tyr

‘Metal Goes Egyptian’ is an EP and in-studio video sessions recorded and filmed with a traditional Egyptian Arabic music orchestra in Studio Mix Art in Montreal, QC.
It consists of 6 songs:
2 brand- new and a rearrangement of 4 previously released songs.
Arabic music is typically known for its monophonic nature, emphasizing melodic lines.
On the other hand, metal music frequently employs the riffing technique, where chords may provide little information about the melody.
This compatibility is why metal is one of the most adaptable genres for incorporating Arabic arrangements without significantly altering the core composition.
In this project, Weka, the arranger of Arabic music, played a significant role in selecting the songs that would best suit to incorporate Arabic arrangement.
“Our collaborative process facilitated smooth decision-making through ongoing discussions and exchanges of ideas. We selected songs with Egyptian-flavored vocal ornaments, and these naturally facilitated the harmonious integration of the Arabic arrangement. The intention was to avoid forcibly converting metal music into Egyptian music while ensuring the song’s foundational heaviness remained intact.”
Cherine Amr:
“This EP possesses a distinct nature due to its special concept. It is particularly appealing to metal enthusiasts who appreciate a diverse range of folkloric influences. Fans who enjoy the fusion of metal and various folk elements will find great enjoyment in this EP. (I think maybe Myrath would the closer to this sound although the instrumentation and tuning are different they would be the closest). I want them to feel the intensity and energy of metal while being embraced by the melodic beauty and cultural nuances of traditional Egyptian Arabic music. It’s an opportunity for them to embark on a musical journey that transcends boundaries and creates a unique fusion of genres. I hope that this blend of musical elements will ignite their imagination, evoke emotions, and leave them with an experience that lingers long after the music stops.”
Between Waves:
“Between the Waves was the first song that we worked on. It’s one of the oldest songs for MSE that wasn’t released digitally. In this song’s intro, a heavy riff is playing in the background, consisting of just two notes. Weka was free to incorporate the Hijaz scale without constraints, and he used maqam kord as a secondary ‘gens’ a modern approach to this maqam. That’s how the song began. As the song progresses, it transitions into a new section with modulation on the G note, leading into maqam Rust. Finally, the ending of the intro (“Taslim” in Arabic) concludes with a return to the Hijaz scale, creating a glamorous ending. I wrote this song when I was very young. It was even before I moved to Cairo in 2009. I was still in the process of discovering myself as a person before a lyricist and a songwriter. While I don’t resonate with the lyrics anymore, singing this song again reminded me of an entire lifetime.”
30 Years:
“This is a rearrangement of a previously released song under the same title. I wrote it when I turned 30 when I moved to Canada. I’m used to writing songs and then jamming on them with a drummer to try out different ideas. With the move to Canada, I didn’t know any drummer to jam with, and I wasn’t ready to network yet, so I had to navigate midi and drum machine, which was a pain – still a pain! But I wrote the drumline for this song on my computer, and with this added knowledge, it gave me a tool to finally express the beats I have in my mind, even if they don’t sound great.”
Oblivious:
“Also, a rearrangement of a previously released song under the same title. I altered the way I sang the chorus to match the Arabic ornament played by the orchestra. I didn’t have to do this, but I just loved it so much that I couldn’t help not singing it. It’s a personal song, and its ending always gives me goosebumps. The song explores how people can sometimes misunderstand things without realizing it, either because they don’t have all the information or because they’re busy with other parts of their lives. It also looks at how our pride can affect how we take in information and how it can be really hard to admit when we’re wrong and face our mistakes instead of avoiding them.”
Back to The Sun:
“‘Back to the Sun’ the fourth track in the EP and the first single, holds a special place for me. It stands out for several reasons, including the captivating chorus sung on a Maqam Rust, which incorporates microtones. The song explores the theme of returning home, where home is not just a physical place, but a feeling of warmth and nostalgia—a place of ease and belonging. The chorus of ‘Back to the Sun’ beautifully utilizes the Maqam Rust, incorporating a microtone between the third and fourth degrees of the scale. This musical choice enhances the emotional and melancholic impact of the song, adding depth and expressiveness. Microtones, which refer to the pitches that lie between the conventional Western musical notes, allow for subtle variations in pitch within the Maqam Rust scale. By incorporating microtones, the song achieves a nuanced and evocative melodic quality, capturing the essence of the emotional journey back home. These subtle variations in pitch within the Maqam Rust scale add an additional layer of depth and complexity to the music, enhancing the overall listening experience.”
Color Blind:
“We decided to rearrange this previously released song for inclusion in this project primarily because of its numerous delicate vocal ornaments. These ornaments provided an opportunity for an Arabic arrangement. Once the Arabic arrangement was introduced, these subtle elements became much more pronounced compared to the original arrangement. I wrote this song after I was denied entry to the USA to play at SXSW with MSE due to the Muslim ban implemented by Trump. Although Egypt wasn’t on the banned list, the border officer was cautious about bands from our region participating, fearing it could add to the ongoing protests at the festival. Fortunately, that’s all in the past now, and I’ve been able to perform many shows smoothly in the USA since the situation has improved.”
Endorphins:
“This is a fresh song I composed during the pandemic using my keyboard. Needless to say how challenging the period of isolation was challenging for everyone, and on top of that, I was living alone in Vancouver. Zoom calls, online events, and even making music had become exhausting. I was struggling with feelings of depression and isolation. My career seemed to be at a standstill, and financial concerns weighed heavily on me. In the midst of this, the middle section in the 9/8 time signature emerged. I had recently come across the Saz VST and was experimenting with it when the arrangement for this part just clicked.”
Massive Scar Era is the brainchild of the visionary artist Cherine Amr, who leads a collaborative journey with diverse musicians in every EP, bringing her unique vision to life.
Originating from Alexandria, Egypt, and currently based in Montreal, QC, Massive Scar Era defies genre boundaries, weaving together a captivating tapestry of progressive rock, post-grunge, Egyptian music, and metal, resonating deeply with audiences across the globe.
“Traveling with my Egyptian passport has proven to be an extremely arduous task primarily due to the stringent visa procedures involved. In 2017, during the implementation of the Trump travel ban, MSE received an invitation to perform at SXSW. I personally had a physical appointment at the embassy, clearly stating the purpose of my travel, and providing the official SXSW invitation, I was granted the visa. However, upon reaching the borders, I faced an unexpected setback: I was denied entry, even though Egypt was not included in the travel ban list.”
With an impressive six albums already, Massive Scar Era is ready to present its seventh ‘Metal Goes Egyptian’ this year.
The first look at this EP is the single ‘Back To The Sun’, which holds a special place for Amr.
A truly enriching musical experience, Massive Scar Era is doomy and melodic metal suitable for fans of Nawather, Merkfolk, and Aeternam.
Amr also adds:
“As the leader of this project, I am humbled and elated to witness the realization of my long-held vision. It has been an incredible journey, collaborating with an exceptional team of musicians, producers, and video creators. Together, we have crafted a musical experience that merges the power of metal with the enchantment of Egyptian traditional Arabic music. This project has expanded my horizons as a composer and creative leader, and I am grateful for the guidance and expertise that Katia Makdissi-Warren, our consultant, has provided. From the remarkable orchestral arrangements by Weka Soliman to the dedication of the sound production team led by Etienne Tremblay, every individual involved has contributed their talent and passion, ensuring a seamless and extraordinary outcome. With heartfelt appreciation, I thank everyone who has made this dream come true, and I invite you all to join us on this remarkable musical journey.”
‘Metal Goes Egyptian’ is due out on November 3, 2023.
Since its inception in 2004, Massive Scar Era has been at the forefront of musical innovation, pioneering a remarkable fusion of fierce vocals, intricate violin melodies, distorted guitars, and the pulsating rhythms of Egyptian percussion.
Her music reflects the cosmopolitan allure of Alexandria intertwined with the raw essence of Cairo’s urban landscape.
The project’s distinctive sound and cultural influences have garnered widespread recognition, leading to its inclusion in two highly influential documentaries that shed light on the vibrant music scenes across the SWANA region:
‘Microphone’ (2012) and ‘Before the Spring After the Fall’ (2013).
“In the SWANA (Southwest Asia and North Africa) region, each country has its unique microtonal system. In the orchestra that recorded the Arabic Music, the members hailed from various backgrounds within the Arab-speaking region. However, despite their diverse origins, they all tuned in together and delivered an authentic Egyptian sound.”
She has embarked on extensive tours throughout Europe and North America, gracing renowned stages and captivating audiences with her magnetic presence
“When I formed this band In 2004, in Alexandria, Egypt, it was established with an all-female lineup. The reason behind this choice was the restriction imposed by my family, which prohibited me from playing music with male musicians. While some perceived it as a feminist statement, I personally experienced it as one of the most oppressive situations I had ever encountered.”