Katharina Ernst developed her extrametric aesthetic, already on her debut solo album Extrametric (Ventil, 2018). The term extrametric refers to the musical meter, but can also be understood as of something being beyond measure. It reflects Katharina’s approach to polyrhythm and complex structures, and marks a significant step towards her artistic independence.  Ernst refers to polyrhythm as a political issue, as they represent a non-hierarchical system of «different patterns/activities are going on at the same time with and/or without interfering; without any of them being superior». Extrametric II, released on Ernst’s newly founded label Extrametric Records, expands the extrametric aesthetic, now incorporating and experimenting with manipulated voice and texts in addition to an electro-acoustically expanded drum kit.

Ernst describes the music as «an even deeper exploration of polyrhythmics on acoustic drums and electronic devices». Each piece is structured as a percussive organism that blossoms organically through layers of concise and precise repetitive, dance-like beats. Each piece has its own inner logic and distinct sonic and emotional atmosphere, and all add more infectious, suggestive nuances to the compelling, evolving sound. 

Eyal Hareuveni