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"Throughout his pop career he was the ubiquitous backroom boy; now Klaus Harmony is on everyone's lips… mostly figuratively." Paul Wolfe, Rush Magazine 1972 |
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"The score to Die Sins des Apostles marks the coming of age of a prodigy. If Klaus Harmony is the Mozart of porn, this is his Haffner Symphony." Bobbi Lerner, Helter Skelter Magazine 1973 |
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"[Klaus Harmony] is Walter Carlos, James Last and Keith Emerson without the nerdy bits, plus the sexy bits, minus the nasty bits with just a touch of Sascha Distel thrown in." Sandy Parkes, Barbara Magazine 1975 |
"Harmony and Wohlfäht’s closeness has an eerie dynamic to it - almost like sexuality. Witnessing them close at hand, their genius is undoubtedly animalistic, if not entirely gay."
Mimi Guggenheim, Lesbiarticulation 1975
"Where Emmanuel entertains effortlessly, The Ladies Man extends the genre's scope at every turn... these works ought, for the sake of argument, be regarded as musico-dramatic, so pervasive is the cadence of Harmony's narrative."
Benoît Montillard, Les Temps 1977
Mimi Guggenheim, Lesbiarticulation 1975
"Where Emmanuel entertains effortlessly, The Ladies Man extends the genre's scope at every turn... these works ought, for the sake of argument, be regarded as musico-dramatic, so pervasive is the cadence of Harmony's narrative."
Benoît Montillard, Les Temps 1977
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"Sexorcist was effectively their [Harmony and Wohlfäht’s] swansong. With hindsight, each shot seems to convey the whiff of foreboding. Even if only coincidence, it’s pretty chilling stuff, particularly the final scene in which the clown finally corners the three dwarves." Michel Chenois, The Frame, 1982 |
"Being his [Klaus Harmony's] only biography to date, it is woeful that Porno Sonatas stands merely as an illustration of why rock journalists should not write books."
Charles Franks, New York Telegraph 2002
Charles Franks, New York Telegraph 2002
