Nomi  Now!  

"Unusually rich. An affectionate portrait, not only of Nomi, but also of the long-gone days when downtown Manhattan was an affordable enclave for creative misfits."
- Dana Stevens, The New York Times


"Highbrow and Brilliant"
 - New York Magazine 
(The Approval Matrix  6/27/05)


"To watch 'The Nomi Song,' Andrew Horn's loving and meticulous documentary, is to recognize that Nomi was, in his postmodern, Berlin-is-burning way, a crackpot visionary whose music has only grown more gripping with the years. In concert, we see him project the image that he was literally from another world. 'The Nomi Song' convinces you it was a beautiful one."
- Owen Gleiberman,
Entertainment Weekly


"Andrew Horn's documentary is, like Nomi, arch and arty, and presents his performances in all their mesmerizing intensity."
- Bruce Diones, The New Yorker


"With 'The Nomi Song,' Horn does more than simply pay homage to a late artist. He uses his subject to revisit the euphoria of artistic and musical culture at a crossroads, and in the process brings it, briefly and poignantly, back to life again."
- Neva Chonin, San Francisco Chronicle


"Riveting and strangely moving. 'The Nomi Song' approaches its subject with a seriousness that captures both the era's creative pungency and its heartbreaking loss. DON'T MISS!"
 - Josh Rothkopf, Time Out New York


"PICK HIT! Made with considerable wit and style. Nomi's particular retro-futurist post-punk synthesis, cartoonish cabaret persona, homemade special effects, high-pop aspirations, and tantalizing near success made him a legendary figure... of downtown bohemia."
- J. Hoberman, The Village Voice


"ILLUMINATING AND MOVING! Offers a wealth of information about Klaus Nomi's career, the construction of his space-alien persona, and the new-wave scene he sprang from. With Klaus Nomi as the focus of our attention, all conventional notions (and notions of convention) are altogether burned away. Dazzling!"
- Ernest Hardy, LA Weekly


"Alluring! An intimate and revealing documentary. Andrew Horn does an excellent job of evoking the exhilaratingly hedonistic period the film covers as well as the long shadow that the coming of AIDS casts over it."
- Kevin Crust, The Los Angeles Times


"Nomi has become a reference point for a new generation of downtown singers. The film preserves performances that, even 20 years later, can still startle and please."
- Jim Farber, The New York Daily News


"Intriguing and affecting."
- Joe Morgenstern, The Wall St. Journal


"He may have been dead for over 20 years but Klaus Nomi may turn out to be the hottest gay recording artist of 2005 thanks to [this] new documentary about his brief but glorious career."
- Michele Kort, The Advocate


"In the histories of music, and NY performance art, [Nomi] remains a footnote, but he is the kind of footnote that makes those histories worth exploring in the first place. Without coming out and saying it, The Nomi Song creates the sense that it's subject might simply have been a few hundred years ahead of his time."
- Keith Phipps, The Onion


"This may be the best Behind The Music special you'll never see on VH1"
- Ed Gonzalez, Slant Magazine


"The Nomi Song," director Andrew Horn's strange and fascinating documentary about the late New Wave singer and art object, Klaus Nomi, gives off a rich whiff of the New York punk bohemia of the late 1970s and early '80s."
- Kurt Loder, MTV News


"RECOMMENDED. Clips from the sci-fi classic It Came From Outer Space bookend this affectionate remembrance of the late Klaus Nomi, who with unusual talent and an alien's sense of dislocation fashioned an androgynous persona that seemed out of this world. Contemporary interviews with his friends and associates are notable for their candor. Andrew Horn directs, stylishly."
- Andrea Gronvall, The Chicago Reader


"Part biography, part time-capsule, Horn's film demonstrates style to spare, a first-rate combination of subject and storytelling."
- C.P., Frontiers Magazine


"Behind The Music meets The Twilight Zone. The story is as haunting as the music, and the film leaves a lingering impression."
- Lisa Rose, The Star Ledger


"4 Stars! Andrew Horn's elegant documentary "The Nomi Song" is an exhilarating and poignant tribute to an artist whose mask was his identity. The artful backdrops to their interviews [are] a fitting homage to the hyper-design of Nomi's world. Most impressive is Horn's seamless, affecting interweaving of visuals and music, and his decision to show performances at length. The power of even the muddiest B&W images is remarkable, Nomi's delicate whiteface visage penetrating the murk, his falsetto pure and free of irony."
- Sheri Linden, Box Office Magazine





Nomi Then


New York Rocker: Who is Klaus Nomi? A creature of any state, sex or sensibility you chose. A pale shimmering genius, or a complete fat head. The new Eighth Wonder of the World, or a tragic slip on nature’s busy assembly line?


NY Herald: I don’t remember last experiencing something outside of a dream state that was such a mixture of beauty, comedy and terror.


Soho Weekly News: By all standards a human - from his plastic cape to his facial bone structure, he’s totally convincing as alien. Like an apparition, his cellophane cape glistening in the darkness, he sings an aria in his spellbinding soprano voice.


Wet Magazine: More Dietrich than Devo, more Callas than Clash. His recent cabaret performances have been shattering glass heads all over Manhattan.


Michael Musto in the Soho Weekly News: A New Waver of an uncertain age, sex, sexuality and origin. People have been known to throw garbage at him, They have also been known to follow him around screaming his name.


John Rockwell in The Times: Mr. Nomi is very odd indeed. Although too self-consciously weird for my taste, he certainly has a creepy individuality.


New York Magazine: Klaus Nomi, with the voice of a short circuited tenor, has been doing phenominal (in every sense) shows at Heat, Hurrah’s and other hot (in every sense) places, posing as an operatic messiah. Carefully orchestrated and lavishly costumed, the shows change naive songs of the 60s and artful songs of the 40s into a Star Warsian electronic pageant.

Alan Platt in Adix: It would take many visits to the downtown venues on the punk circuit to grasp how utterly bizarre is the sight of hundreds of snotty little drunks standing around in silence listening to this classic piece of High Romance delivered by someone from last week’s Star Trek. It’s the skill of the illusionist. Hypnotism by pure weirdness, out-bluffing their sense of the bizarre, and yet singing so beautifully with the recorded sound of a fifty piece orchestra swelling around the room, that few are not moved by the pure musical experience. It’s Nomi’s big coup. Set them up with weirdness, knock them down with art.


Nomi In France 


Asexual creature, sad clown with the body of an extra terrestrial, the love child of Callas and Elvis Presley - Liberation 1981


The Martian of the year - L’Express 1981


Maria Callas passed through the filter of rock mythology and intensified by the perfume of ‘30s Berlin. He has assumed the look of a cruel warrior of opera rock (...) an archangel descended from another planet. - Le Soir de Brouxelles 1981


This paradoxical figure - genius or put-on, Klaus Nomi appears on the scene like an outrageous futurist clown. - Le Matin 1981


Marrying the force of rock with the purity - and a touch of the perversity - of opera. - Le Soir de Brouxelles 1983


A strange personage - sad clown to some, incomparable genius to others. (...) He deserves a special mention in the annals of rock history as the first who dared sing an operatic aria to the habitués of Max’s Kansas City. - Le Matin 1983