To some, Erik Satie is one of the most influential figures in 20th-century music (his haunting Trois Gymnopédies and Gnossiennes predate Debussy's use of similar harmonic resources by some 15 years); to others he is the precursor of muzak, minimalism and the work of John Cage, and therefore a damned nuisance on all three counts. Many of his 70 works (half of them for the piano) now sound merely like frivolous parodies, pretty but supremely unimportant cabaret tunes of the period sporting absurd and eccentric titles.

So it proves in the case of Bojan Gorisek's programme of works composed while Satie aligned himself with the short-lived Dada movement (fl1916-c1924), though the seven little pieces that make up Trois morceaux en forme de poire date from 1903, their raison d'être to poke some mild fun at Debussy. Relâche (the term refers to the period when a theatre is dark, ie between productions) is the music for a 1924 Dadaist ballet in two acts: 22 more or less jolly music-hall tunes, few lasting more than a minute. Between the two acts comes Cinéma, 10 similar pieces originally accompanying a short film by René Clair shown in the interval and in which Satie himself appeared. It's all quirky, innocuous and fitfully tuneful with many pieces uncannily similar in style and spirit to Satie's cheerful La belle eccentrique. Gorisek is closely recorded in a small studio on what sounds like a half-size grand (the instrument has little bass resonance). Cherry-pick the 40 tracks and there are some gems; heard at a sitting, Gorisek's constant switch between delicate piano and crunching fortissimo quickly becomes rather wearing.