Music being non-figurative, you can put it in all kinds of contexts, and Lixiviation is a grand example of just that ability to shift. A retrospective compilation of Suzanne Ciani’s early sonic experiments and corporate work, it contains a beguiling mixture of lush electronic soundscapes of pulsating synth-hearts and windy breaths ('Paris 1'; 'Princess with Orange Feet') as well as short and terse marketing messages in the form of music.

Because of that Lixiviation is hard to classify. In part, it's a sonic biography. In order to be representative of that, it contains some odd listening material, because probably Lixiviation’s most famous creations are the corporate kind. The ninth track here is just eight seconds long and consists of the un-popping of a Coca-Cola bottle cap and the fizzing of its liquid, all done with electronics. Tracks seven and two are 13 and seven seconds respectively, and represent Ciani's work for Atari, the accompaniment to the company’s games logo and corporate tag.

Without a knowledge of Ciani’s career these creations work like interludes, and they feel like wry capitalism bashing, ironic electronic constructions; nonetheless full of intriguing sounds (there is something genuinely seductive and wonderfully bubbly about 'Coca Cola Pop and Pour'; it really does make you want a cola) they seem to play second fiddle to Ciani's more sustained work. When on the lush female voice speaks those words – "Coca Cola Pop and Pour"; the intonation just raising at the close of the phrase) it feels idiosyncratic, a raised eyebrow atop the longer and more varied as well as experimental sounds of pieces like the title track, shifting as it does through carousels of sound and waves of warm chords.

So what is Lixiviation? It does something interesting to music by flattening out the contextual aspect of the pieces (for those who don’t care to know the context) so that corporate tags, music for adverts (Ciani’s curiously poppy music for an ITT commercial is one of the compilation’s highlights) and Ciani’s aural experiments all work for their own end, share a level playing field.

But then there’s the matter of wrong context. Something like ‘Coca Cola Pop and Pour’ sounds completely different to the ear when you know it was used for advertising, and the Atari corporate tag, with all the retro-hazy cool that comes with the Atari name these days, probably sounds better when you know what it was used for.

For all that though, the catchy arrangement Ciani wrote for ITT has plenty in common with, say, ‘Princess with Orange Feet’: the use of the pulse on the latter (as well as ‘Paris 1’ and ‘Lixiviation’) differentiates the ITT piece or her work for Almay, but the basic components are there. In essence, Ciani’s work seethes with sonic beauty – context or no. And Lixiviation is a perfect introduction to that work.