Katharina Ernst’s new solo album, Extrametric II, will be released this fall on her newly founded label Extrametric Records (extrametric.net). Extrametric II continues the approach of her 2018 debut Extrametric – which combined “abstract composition with polyrhythmic solo performance on drums” – but now also incorporates voice and text in addition to an electro-acoustically expanded drum kit.
Katharina describes the music as “an even deeper exploration of polyrhythmics on acoustic drums and electronic devices,” adding new layers to her evolving sound. The compositions unfold as a sublime suite of rhythmic rituals and lush cinematic journeys. Katharina composed, performed and produced every sound: from drums and analog synthesizer to amplified kalimba, gongs, shakers and bass amp. Everything is played live. As one reviewer notes, on Extrametric, Katharina turned the acoustic drum kit into “a subtle, intimate and highly versatile and playful instrument” (salt-peanuts.eu).
Katharina explicitly connects her music to theories of social structure. In interviews she notes that polyrhythms are an interesting political issue, since multiple rhythms can coexist without any of them being superior. On Extrametric II, layers of overlapping meters become a metaphor for egalitarian society.
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Katharina Ernst’s new solo album, Extrametric II, will be released this fall on her newly founded label Extrametric Records (extrametric.net). Extrametric II continues the approach of her 2018 debut Extrametric – which combined “abstract composition with polyrhythmic solo performance on drums” – but now also incorporates voice and text in addition to an electro-acoustically expanded drum kit.
Katharina describes the music as “an even deeper exploration of polyrhythmics on acoustic drums and electronic devices,” adding new layers to her evolving sound. The compositions unfold as a sublime suite of rhythmic rituals and lush cinematic journeys. Katharina composed, performed and produced every sound: from drums and analog synthesizer to amplified kalimba, gongs, shakers and bass amp. Everything is played live. As one reviewer notes, on Extrametric, Katharina turned the acoustic drum kit into “a subtle, intimate and highly versatile and playful instrument” (salt-peanuts.eu).
Katharina explicitly connects her music to theories of social structure. In interviews she notes that polyrhythms are an interesting political issue, since multiple rhythms can coexist without any of them being superior. On Extrametric II, layers of overlapping meters become a metaphor for egalitarian society. This concept echoes scholarly notions (for example, Henri Lefebvre’s analysis of urban space as organized by everyday rhythms), while Ernst herself reminds listeners that “playing the drums is not modest...” pointing out that a drum kit “takes up space and doesn’t apologize” (seismograf.org) (Photo: Michael Breyer).
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