EPK – Massive Scar Era – Metal Goes Egyptian (2023)
Publicist – Jon Asher – jon[@]ashermediarelations[.]com
“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.” – Cherine Amr – Massive Scar Era
Band: Massive Scar Era
EP Title: Metal Goes Egyptian
Release Date: November 3, 2023
Label: Self-Release
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“Steeped in Metal, but bridging the gap to Egyptian music, Massive Scar Era is a Metal band you need to know about in 2023. The brainchild of visionary artist Cherine Amr, their new EP Metal Goes Egyptian, the seventh release in her career, is coming out in November. Not only does the band creative a ground-breaking mix of Metal and world music, Cherine had to flee her country where “the devil’s music” is forbidden to create, let alone defying gender norms that could lead to punishment, or worse. With its unique fusion of Prog Rock, post-Grunge, Egyptian music, and Heavy Metal, the group just released a new single “Between Waves!”” – Ghost Cult Magazine
” When you’re a metal act, you either go big or you go home, and going big is what Massive Scar Era does extremely well. Today, the metal ensemble unveiled the video for their new single, “Oblivious,” off of their Metal Goes Egyptian EP. As an in-studio performance video, it’s simple but effective. It’s particularly effective due to the level of precision with which the band plays. Then you add in the orchestral elements, and you have essentially what amounts to a symphony. Beyond band founder and leader Cherine Amr, there are many minds and parties at play to bring this vision to life. Amr collaborates closely with musicians, producers, and video creators. Her goal is to combine heavy metal’s power with traditional Arabic music’s beauty and charisma. You’ll hear it all come together in perfect harmony upon Metal Goes Egyptian’s official release on November 3rd.” – V13
“As the title indicates, it’s metal with a middle eastern tone and style… mostly melodic death with clean and harsh vox.” – The Moshpit – WORT 89.9 FM (Madison, WI)
“the Egyptian-Western music cocktail has an almost hypnotic effect” – PowerMetal.de
“Through “Metal Goes Egypt”, their new EP, Canadian band Massive Scar Era invites open-minded heavy music fans to embark on a musical journey that transcends borders and creates a unique fusion of metal energy and the melodic beauty and cultural nuances of traditional Egyptian Arabic music.” – YoZone.fr
Band: Massive Scar Era
EP Title: Metal Goes Egyptian
Release Date: November 3, 2023
Label: Self-Release
Track Listing:
1. Between Waves – 3:22
2. 30 Years – 4:43
3. Oblivious – 3:46
4. Back to the Sun – 3:41
5. Color Blind – 3:14
6. Endorphins – 2:37
EP Length: 21:26
Credits:
All songs performed by: Violins: Kristin Molnar, Zoé Dumais, and Rasha Masalkhi
Viola: Omar Abou Afach
Oud: Mohamed Masmoudi
Qanun: Nizar Tabcharani
Percussions: Phyras Haddad, and Bertil Schulrabe
Drums: Julia Geaman
Bass: Etienne Tremblay
Songwriting, Vocals, Guitar: Cherine Amr
Arabic Music Arranger: 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)
Recorded by Nicolas Pétrowski and Etienne Tremblay (La Machine à Mixer) at Studio Mixart, Montreal, QC,
• All songs written by: Cherine Amr
• Produced by: Etienne Tremblay
• Mixed by: Etienne Tremblay
• Mastered by: Etienne Tremblay
• Album Artwork by: Biggg Rock Films
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The album as a whole (LYRICALLY & MUSICALLY):
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.
Track By Track explained:
1. 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.
2. 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.
3. 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.
4. 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.
5. 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.
6. 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.
Story Angles – Band Fun Facts:
1. 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
2. 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.
3. 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.
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.
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, which she explains:
“It’s a reflection of the warmth and nostalgia we all carry within us. The chorus, sung on a Maqam Rust with its intricate microtone, adds a touch of melancholy and emotional depth to the music. This song is an ode to the feeling of belonging and the yearning to return to a time and space where we felt at ease.”
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.
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.
More Info:
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.
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).
She has embarked on extensive tours throughout Europe and North America, gracing renowned stages and captivating audiences with her magnetic presence.
Shared Stage with: Kreator, Dream Theatre, Dimmu Borgir, Septic Flesh, The Algorithm, Moonspell, Tyr
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)
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