'Janek’s “source of inspiration” was apparently Stanislaw Lem’s novel Solaris and Janek’s own social observations in Prospect Park in New York City “…where I was living during the main research period for this work”. I’m not familiar with Lem’s novel, but if you’re expecting echoes or resonances from the soundtracks of either the Tarkovsky film or the George Clooney remake, I’m afraid you may be disappointed.

On side A we find “Infinite Bang Part 1”, which is more solo contrabass and electronics. Janek likens his approach to a “perpetuum mobile” – not an object in itself as I first thought, but a translation of “perpetual motion” – makes me think of kinetic sculptures by Naum Gabo or Alexander Calder. Janek analyses his own interest in the comparative attributes of acoustic and processed sound in his sleeve-notes. The “…initial bang is always produced by the acoustic contrabass. The electronic equipment does not incorporate the possibility of tone production…” In other words, Janek is explaining that despite electronics being important to his work, his performance set-up doesn’t include and electronic instrument or component that produces sound by itself; it serves only to enhance the signal made by the contrabass. What kind of electronics/processing is used is not not stated – certainly on side A it is very subtle. If you weren’t paying attention, you might even mistake it for clean solo contrabass…

In contrast, the B side begins with recognisably processed sound. Janek heads into a more verdant sound-world than the dry, arid environment of side A. Here, the contrabass produces sounds like motors, or cicadas or a sythesiser pad; washes and swells appear and disappear, but all in all its a bit sombre: not a lot of “bang” for your buck. Personally, given a choice, I’d rather enjoy an evening on the sofa watching Tarkovsky’s Solaris instead.'