Rick Stotijn has done sterling work persuading treble-clef dwellers that double bass albums can sing and dance, but there’s a danger he loses focus here with a recording that can be hard to digest. The most obvious anomaly is that we get three of Britta Byström’s A Walk to … pieces, designed to introduce works by Schubert, Bruckner and Strauss, without those pieces for company. As a result, they sound like up beats to nothing – gongs with no dinner.

Byström’s stand-alone Double Concerto for violin/viola, double bass and orchestra Infinite Rooms is worth hearing. The title comes from the mirror rooms designed by Yayoi Kusama in which small details become ever-present. The technique isn’t so literally transferred to music as Byström’s notes suggest – in fact, there are more instants of a single entity being magnified or obsessed over in Jesper Nordin’s noodling, post-minimalist Piano Trio, while Byström seems to achieve acuity of atmosphere rather than object – but the piece is tight, with joyous bustle, plenty of rhythmic trickery and fascinating textures. You can lose yourself in the score’s sense of fantasy much as you can in Kusama’s installations. One drawback is the slight sense of Byström trying to do a few too many things and please too many people.

Before that, we hear the 1948 Double Bass Concerto by an Estonian who made his home in Stockholm, Eduard Tubin. This is a thriller, well worth hearing and a fine vehicle for Stotijn’s ability to haul his instrument out of the cellar but also to invest even its lower registers with lyricism and some degree of tonal brightness (Tubin’s score, knowingly, gives the soloist space). The concerto moves from the sort of tensile anticipation Hitchcock tapped from Bernard Herrmann to a finale that could be described as Shostakovich without the terror. The orchestra does the atmospheric heavy lifting but it’s an attractive, witty, kooky piece that deserves this vivid new recording from Stotijn’s own orchestra, the Swedish Radio Symphony, to follow Håkan Ehrén’s 35-year-old taping on BIS with Neeme Järvi and the Gothenburg Symphony. The jury’s out on the tangibility of Stotijn’s overall Swedish theme but it’s a thumbs-down for the album’s title, ‘Back to StockHome’. I’m all for puns, just not when they require elaborate tangential explanation.