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Klaus Nomi

 
 
Chiropteran
16:37 / 16.08.06
[Mostly reposted from the "What Are You Listening To?" thread - I'll be back with some more and some YSI links when I get a chance.]

Right now I'm listening to Klaus Nomi, and it's making me feel weightless and gutted at the same time. Nomi was a figure in the early NYC New Wave scene - an opera-trained countertenor (male soprano) with a deep love of disco and an unearthly, elfin appearance (augmented by his sublime, ludicrous costumes). He got his widest exposure in the New Wave film Urgh! A Music War, and singing backups for David Bowie's 1979 Saturday Night Live performance.

The music is fantastic - he flows effortlessly from disco-apocalypse originals like Total Eclipse to reworkings of Ding Dong the Witch is Dead or The Twist (!) to Dido's Lament from Dido and Aeneas (where his voice really gets to shine). It's fun, delightful, and somehow unspeakably tragic. Something about his performance (there's a load of video on youtube, well worth your time) leaves me emotionally raw, and elated.

(the new bit)
I'm hoping to order the documentary Nomi Song with my next paycheck. Since the visual element was such a big part of Nomi's performance, I'd like to open up the thread to discussion of the film, as well (being one of the more comprehensive Nomi resources readily available).
 
 
Chiropteran
00:50 / 27.08.06
Yow, how long ago did I say I was going to do this? I have no sense of passing time... (Ditto if I owe you a PM or, uh, money.)

I'm back with the YSI - a sampling of Nomi's different styles (originals, pop covers, opera):

Klaus Nomi - After the Fall
The uplifting sequel to the apocalyptic Total Eclipse.

Klaus Nomi - The Twist (Ballard)
Yes, that twist; slow and sinister, and one of my favorite of Nomi's cover versions.

Klaus Nomi - Death (Saint-Saƫns, Samson and Delilah)
Nomi sang this aria at the end of every show.

The music is great, taken by itself, but the full experience of Nomi really requires the visuals. If you haven't checked out the youtube links in the first post, do yourself the favor.
 
 
Mono
11:35 / 29.08.06
I completely love Klaus Nomi, but it's been years and years since I listened to him--thanks, Lep!

Once during University, a friend and I filled my brother's answering maching with 30 second snetches of klaus nomi songs. I think it freaked him out a little bit.
 
 
Chiropteran
12:40 / 29.08.06
Mono, that's awesome. I think everybody needs to pick up their phone and find Nomi singing at them, at least once.
 
 
illmatic
13:19 / 29.08.06
Cheers for those USIs Lep. They are strange, high camp but with a weird dignity to them that transcends this element. Great stuff.
 
 
Chiropteran
18:19 / 30.08.06
It's that dignity that really grabbed me, too. There is humour in some of Nomi's music (Ding! Dong!) and aspects of his presentation, but he is definitely not a joke. He gives the impression of someone who takes artifice-as-such very seriously, which is so much more interesting (to me) than just having a "shtik." He had also, it seems, a kind of naive disconnect from the reality of the music industry and American public taste of the time - he really thought he was on the road to SuperStardom - which is kind of touching, but also a little sad. His primary experience of American Life was the few blocks of the Village in NYC in the flare of the New Wave scene, miles away from, well, anywhere really. This illusion did, however, allow him to pursue his craft with the straightforward earnestness that is so striking, walking the most crowded downtown club stages as though his ascension was inevitable. He "believed his own myth," at least to a point.*

The tragic elements of his performance are also underscored, in hindsight, by his untimely death (Nomi was one of the first people in the Village scene to die of AIDS, when it was still known as "gay cancer" and the risk of contagion wasn't well-understood - he died alone in the hospital, because his friends were afraid to visit him). It's hard to hear him sing "I can scarcely move or draw a breath / Let me freeze again...to death" without thinking of his final days - or the fact that it was (apparently - cite needed) the final song of his final performance before he was hospitalized. Terribly maudlin to think about, but if he hadn't done it on purpose, he probably wished that he had.

Rereading my first paragraph, I should add that, while he was virtually unknown in the US outside of NYC, both of his studio albums went Gold in Europe, during his lifetime (his second gold record was delivered to him in the hospital).

Incidentally, conservative windbag Rush Limbaugh has long used Nomi's version of "You Don't Own Me" to introduce his (fairly repugnant) commentaries on gay culture, and a number of Nomi fans claim to have first encountered him this way.

*I should say that I'm basing these tentative statements on what I have read about Nomi thus far. The documentary (arrive today, please!) may well cause me to revisit some of these points with a different view.
 
  
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