At det var Rabih Beaini aka Morphosis, der skulle bringe Charles Cohen ud af obskuriteten og give ham den eksponering som hans kunst så åbenlyst har fortjent, er én af disse fantastiske musikhistoriske kortslutninger, som internettets totale tilgængeliggørelse af al musik har affødt så mange af. Hvis man ikke vidste bedre skulle man tro at Cohen havde haft en stor indflydelse på Morphosis’ analogt organiske house- og technoeksperimenter: ligesom Cohens henter den inspiration i (mellem)østlige musiktraditioner og en jazzet spiritualitet, motorisk-maskinelle beats og en dyb, næsten primitivistisk rytmeforståelse.

Men ikke desto mindre er det blot to år siden af Beaini stiftede bekendtskab med Cohens musik, som indtil da primært havde vundet udbredelse i hjembyen Philadelphias eksperimenterende danse- og teaterscene. Beaini insisterede på at udgive alt hvad Cohen ejede og havde af gamle og nyere optagelser – og disse optagelser blev til fire vinyler, der indeholder noget af det bedste og smukkeste synthesizer-musik, som internet-æraen har gravet frem af glemslen.

Det er på det nærmeste ufatteligt hvor ny og frisk Cohen musik lyder. Der er ekkoer af kosmisk elektronisk kraut såsom Cluster, og melodiske repetitioner der minder om den balinesiske gamelan-tradition – men Cohens særlige, sprødt skeletale kompositioner minder vitterligt ikke om meget andet. Hans instrument er den semi-modulære Buchla Music Easel (en synthesizer omtrent på størrelse med en kuffert), som er lidt af en teknologisk kuriositet: Charles Cohen er en virtuos behersker af alle dens aspekter, og formår at vride de mest vidunderlige lyde ud af dens slidte kredsløb. Runde, elastiske bobler af blød klang stiger op fra klirrende, frostsprød percussion – droner forvandles til mikrotonale melodier og concrète-klingende lyde, som af trafikuheld, der panorerer på tværs af lydbilledet blot for at opløses til underspillet og nærmest poppet melodiøsitet.

Rabih Beaini aka Morphosis, who brought Charles Cohen out of the obscure and gave him that exposure that his art so truly deserves, is one of these fantastic music historical short circuits, which the internet’s total availability of all music has caused so many of. If you did not know any better, you might think that Cohen had a great influence on Morphosis’s analog organic house – and techno experiments: Just like Cohen picks up inspiration from the (Middle) East and their musical traditions, and a jazzlike spirituality, machinebeats and a deep rhythm-understanding.

But nevertheless simply two years ago, Beaini became acquainted with Cohen’s music, which up until that had only won acknowledgement in his hometown, Philadelphia, and its experimenting dance- and theatre scene. Beaini insisted on releasing everything Cohen owned – both old and recent recordings – and these recordings were made into made into four new vinyls, which contains some of the best and most beautiful synthesizer music, as the internet-era discovered from the oblivion.

It is quite unbelievable how new and fresh Cohen’s music sounds like. There are echoes of cosmic electronic such as Cluster, and melodious repetitions, but Cohen’s special, tinny skeleton compositions are not really comparable with anything else. His instrument is the Buchla Music Easel (a synthesizer being the size of suitcase), which is a rather technological curiosity. Charles Cohen is a master of all its aspects, and is able to twist the most wonderful sounds out of its worn circulation. Round, elastic bubbles of soft sound rises from jingling, tinny percussion – drones turns into micromelodies and concrete-jingling sounds, as a traffic accident, which pans across the soundimage only to be dissolved for the rather popped music.