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.
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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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