Working with a variety of musical, sociopolitical, and psychological issues, the American composer/percussionist Sarah Hennies often explores queer & trans identity, love, intimacy, psychoacoustics, and percussion. For this volume, she invited the San Fransisco-based percussionist and co-founder of queer nü-metal collective COMMANDO, Andy Meyerson to collaborate and to actualize some of the scores. All pieces in Extra Time are intricate reworked versions of various elements of well-known songs by Prince, in an acoustic percussion-work situation. For example, in the album centerpiece “Kisses”, the percussionist is instructed to perform four simultaneous tempos while sometimes independently speeding up or slowing down individual hands and feet. During this already a near-impossible task, the percussionist must also attempt to toss several objects into a metal bucket placed increasingly far away from where the percussionist is seated. This volume could be Hennies’ conceptual method of re-constructing popular culture while testing the limits of technical virtuosity at the same time.