artist: Leon Lamont
title: I Look Funny
Keywords: house
label: Num Num nah records

Remember the well appreciated lunatic and artist who launched itself in 1966 into music history as Napoleon XIV?
Mostly famous for his insane fun hit ‘they are going to take me away, haha hihi hoho… …to the funny farm hihi hoho … they are going to take me away… Does this ring a bell? If there aren’t bells ringing in your head you should definitely do some research on this mysterious character and the legendary experimental and hilarious music he donated to society.
If I remember it well the single ‘they are going to take me away hihi haha hoho..) featured the same track backwards on the B side of the vinyl.
And if I even dig deeper in my dodgy memory department the official track title of this reversed song was of course also written from back to front. Something that inspired me to compile a complete backwards compilation for underground netlabel Proc Records a few years back..
Napoleon XIV has many other tracks that are worth mentioning, like himself singing in some kind of baby voice a song about a tricycle and I believe even a duet version of the funny farm song with a female lunatic counterpart.. This stuff is old but probably did open doors for more experimental pop, weirdo breaking boundaries and more artistic crap with a fine sip of humor instead of all the big produced Motown show off stuff..
So what does Napoleon XIV has to do with this single of Leon Lamont?
Well I hope for Napoleon XIV’s mad hatter reputation; absolutely nothing!
But still this house track did make me think of Napoleon XIV and how I miss  the genius of it. The track in question glued up some housebeat, a asthmatic squeaky scratching parrot and the repeating vocal parts that let you know that the artist looks funny.. hihi haha hoho.. let’s take him to the funny farm hihi hoho…
If you can imagine Napoleon XIV after a long treatment of swallowing modern day prozac, anti psychotics pills and other mind crumbling stuff than this could be ‘his return’. The vocals in this track tells you everything what you need to know so you might want to hear this just for the sake of it. Just be warned; it isn’t funny but will raise your appetite for a Napoleon XIV  torrent/youtube/google frenzy!

Artist: Leon Lamont
title: Yesterday Was Weird
keywords: experimental, breakbeat
label: Num Num Nah Records Leon Lamont-Yesterday Was Weird

Leon Lamont comes up with a EP called ‘Yesterday Was Weird’. It has been released on Num Num Nah Records and this is my first encounter with this netlabel and with the output of this artist.
The first track is called ‘Self Hypnosis’ and set a mellow dramatic mood that is equally fun and perhaps a bit weird. It is a track largely based on a melody played on a Rhodes piano and a steady swing beat. The beginning is basically the part when the self hypnoses are slightly taking over.  We hear a ‘wop’ we’ voice setting a tempo and around 3 minutes the strangeness introduces itself. Strange manipulated trumpets in reverse, a giant bee is farting and the trumpet seems to making more menacing themes to freak our minds out.  This is working out very well and around 5 minutes the music start to be orgasmic and all the weird things start to fall in place with deep understanding.
the voice sings ‘oh yeah’ deep in the muffled background while bright strings and filtered weirdness is having fun in the music. This is surely something I will sign up for! Great stuff!

Track 2 is called By A File and is funky as fuck and really delivers an excellent mood of soulful programmed music.  The groove is rolling, the funk is taking your ears on a stroll and I can’t seem to stop myself from snapping my fingers in a cool way. This is serious cool stuff you expect a crow in a suit with sunglasses on to play, while tipping his cigar in a plant pot and playing base with his other left over wing. The nice strange un-identifying effects in the background are creating a fine depth
and at the same time sucking the listener up in rapid speed. Top stuff!

The last track of this fun EP is ‘On A Sofa’ which sounds more like someone with ADHD is jumping up and down on the couch in a very fun matter.  It all starts with some filtered beat box and halfway the track we completely forget that it is a human beat as everything sound highly fun and electronically manipulated.  It rolls , it rules and  it makes me search for a sofa to jump up and down too myself.
I didn’t find a sofa but just jump on a broken chair instead. The bounce rate is fine and the music fits perfect for this home generated exercise!

The music on this EP is absolutely great and if it where tea instead of music I would probably made a teapot full of it! Really fun and groovy stuff that isn’t afraid to show its own personality and the madness that comes with it. The only minus point of it is that it seems like the tracks are cutoff at the end. Perhaps that is all on purpose to make the weird effect stronger, but somehow it feels a bit odd. But with a title like ‘Yesterday was weird’ I really shouldn’t complain to much.. really a likeable fun EP!
Get yourself a free copy over here:

Artificial Afrika Theatrical Debut, February 2012

Top 10 Must-See Acts At Winter Jazzfest 2011

By Phil Freeman Thu., Jan. 6 2011 at 9:00 AM

Vernon Reid's Artificial Afrika
Le Poisson Rouge, Saturday, 6:15 p.m.
The Living Colour/Decoding Society guitarist, accompanied by vocalist Akim Funk Buddha and DJ/percussionist Leon Lamont, premieres a new multimedia work exploring media and pop-cultural versions of Africa and African-Americans through film clips, live music, and more. Hopefully it'll be more rock than rant.

Winter Jazzfest 
New York, NY 
January 7-8, 2011

Vernon Reid's Artificial Afrika
Slick and heavy electric forays characterize the work of veteran guitarist Vernon Reid. However far into space he goes, his instrument is always under control; usually, his music is as well. Artificial Afrika—featuring vocalist Akim Buddha Funk and DJ/percussionist Leon Lamont—was, however, a simmering, trippy stew of voodoo and multicolored mud. For all the mess, it was a wildly glorious experience. There were technical problems to start, with Reid's computerized hookup on the fritz, but he kept his cool as the technicians solved the glitch, and soon proceeded to unleash his odyssey.
On two screens behind stage, images with footage of old Africa blazed. "Africa, land of savagery and adventure," the type ran, followed by images of the people in sorrow in shallow waters with elephants. Then, a king in a litter—pulled in circles, at breakneck speed, by a horde of admiring subjects through the savanna. Hybrid rhythms of hip-hop and reggae raged, as Reid reined them in with searing, loping lyric lines, and Buddha Funk pranced around with a masque, singing shamanesque chants. The modulations were grand and lazily abrupt, as Reid led his unit in and out of psychedelic swamps. He ended by thanking his audience for auditing this "work in progress."

SIGNAL TO NOISE magazine issue # 61
Spring 2011
Vernon Reid- another veteran guitarist with parallel careers in jazz and rock- also brought a high-concept visual project, Artificial Afrika, to Les Poisson Rouge. Playing in front of newsreel images that helped define the 'Dark Continent' for Westerners, Reid, DJ Leon Lamont and vocalist Akim Funk Buddha created a rich stew of chants, Tarzan samples and rhythms. It lacked the kind of memorable riffs Reid is well-known for, but it was a strong ensemble piece that seemed perfectly suited to its abbreviated time slot.


Feb. 2001. Vol. 1.7

What sets St.Louis Native Leon Lamont apart from the morass of drum 'n' bass producers out there is an eye for detail, an intense energy, and an idiosyncratic sound. He plays many of his beats live-in fact, he has been known to give two-hour performances of his work. As such, his songs ( as opposed to 'tracks') possess a structural complexity that shame most of the repetitous workouts that pass for drum'n'bass these days.

Yet Breakbeat Mechanic isn't jungle pressure all the way through. With Producer Scotty Hard, Lamont injects hefty shots of hip-hop attitude and abstract electronic thinking into the mix. "Bubblegum Ape Law" starts off with a rolling downtempo mood before exploding into dynamic, groovy hyper-jazz, while "Mockery" sounds like an attack by a swarm of killer robots as remixed by Method Man. And then, "Dust" is pure late-night blues flavor.

But it's the straight-ahead drum'n'bass numbers that work best here; "Johnetta and June", "American Black", and "ILLness" beguiling with the sort of fractal arrangements that would confuse even the most hardcore mathematician. Proof, if proof need be, that Leon Lamont is most certainly moving to his own unique rhythm.

-Kieran Wyatt



January 24-30, 2001

Volume 25, Number 4

Old schoolers may recognize the name Leon Lamont from his drum work with the T.H.U.G.S. in the early and mid-90's, but that was long ago, and since then his style has transformed from bang-boom metalhead pounding into utterly amazing, inspired drum & bass. On "Breakbeat Mechanic", Lamont has created a strange and powerful amalgam of synthetic and live-time drumming, and the result is skillful and engaging. Using drums, MIDI tracks and a sequencer, Lamont creates live what most drum & bass producers are only able to make with the aid of computers: thick, 170-bpm breakbeat breakdowns. The record was released on the Wordsound label out of New York( hip-hoppers know this as the home of MC Paul Barman) where Lamont was living until recently. While there, he hooked up and toured with DJ Logic(Medeski, Martin and Wood's DJ), performed with the Cold Crush Brothers during a reunion gig and collaborated with , among others, Anti-Pop Consortium, Dr. Israel, Dead Prez and Chocolate Genius. Lamont has returned to St.Louis, and he deserves to be recognized as one of the city's most accomplished percussionists; you can welcome him back when he performs live breakbeat and drum & bass from behind his kit, as well as with sequencers and a MIDI setup, at the Galaxy this Sunday. Highly recommended.

-Randall Roberts

Breakbeat Mechanic

The people making the best drum'n'bass music in 2000 are those who've figured out that it really isn't about dancing, so there's no need to aim it at the lowest common denominator. On the American scene, most of the best drum'n'basss is coming out of Brooklyn, where hip-hop, illbient, dub, and jungle have been stewing together for years and artists like Dr. Israel, Scarab, and Roots Control have been bubbling to the surface.

Leon Lamont comes from a more classical place, in that his version of drum'n'bass tends to stick to the breakbeat verities rather than drawing on multiple genres.

But he's also more classical in the sense that composers like Edgard Varese and Karlheinz Stockhausen are classical: Although he never abandons the groove (the way fellow experimenters like Spring Heel Jack are wont to do), he does get pretty abstract and experimental within the confines of his rhythmic structure.

If Roni Size and Datach'i got together, the result might sound like this.

"Bubblegum Ape Law features a loping, mid-tempo breakbeat that chugs along under what sound like a collection of industrial sounds and an electric piano before whipping off into robotic jungle; "Illness" obliterates a brief trip-hop intro with a bracing dose of no-frills funk and, strangely, what almost sound like pizzicato strings.

"Mockery" opens with maniacal laughter and then builds a slow-simmering groove around the rhythm of that laughter.

It's that kind of attention to detail that makes the difference between an artist and just another beatmonger.

-Rick Anderson

Breakbeat Mechanic
Leon Lamont

Leon Lamont will fix you up nicely with fast past
Breaks and cheerful, quirky melody. He ( along with
Co-producer Scotty Hard) also provides some
F***ed up break patterns and weird sounds to keep
Things interesting. Track five, ILLness is truly sick,
With metallic breaks that sound like a live drum kit,
Along with plenty of weird sounds that will remind
You of those cheap Casio keyboard melodies.
Breakbeat Mechanic is very experimental but doesnt
Get too dark and keeps most of the rhythms stable for
the dancefloor. This is definitely not a standard
, run-of-the-mill drum n bass album.
Of course thats why we are recommending that you
Check it out for yourself. (Blips)

The Music Forum
Breakbeat Mechanic, Leon Lamont - Vincent Wong

Drum and Bass: the splintered group of the techno genre. Originated by "Jungle" music, this group of electronica is informed by hip-hop aesthetics, boasted by masculine ragga vocals and rumbling low-end basslines. Drum and bass was once the ruiling music of any dancefloor in London. Like any other so-called underground music, its eventual absorption by the mainstream is inevitable. In late mid to late 90's drum and bass has proliferated the mainstream. So much so, from pop song to commercial jingles, they all sport jungle and drum and bass breaks. It is no coincidence: with illuminaries such as Goldie and Roni Size's Reprazent's effort taking the pop chart by storm, it's no wonder that drum and bass has indeed gone soft.While many diehards left the scene in favour of the bludgeoning trance scene, drum and bass seems faltered in its intensity: Roni Size/Reprazent are enjoying their newfound stardom, Goldie can be found more easily in tabloids than music press and concerns his next movie role rather than his next album. Even more serious drum and bass practitioner Photek (Rupert Parks) has gone trance in his new album "Solaris". Leon Lamont's "Breakbeat Mechanic" is indeed a strong testament to the vengeful return of drum and bass: the beats are hard and intense with complex yet ferocious arrangements. Lamont is a drummer who used to play heavy metal, became a drum and bass devotee after the breakup of his band. Lamont has been playing with a number of avant-funk units in the New York downtown scene such as DJ Logic, Medeski, Martin and Wood and many others."Breakbeat Mechanic" is a virtuosi display of his skills on both the sticks and producing as a whole. While the bass, synth and other melodic loops might be sequenced; all the drumming on the album were recorded live in the studio. The album sports a complex and tight programming and arrangement. While most drum and bass tracks concern with only the groove and the basslines (rightfully so), Lamont's sound is typified by the tasteful use of loops and samples. There are twists and turns at every choruses: guaranteed to put the listener on a roller-coaster ride.From the rumbling and grunts of the low-end bass to the phuturistic blips and squeaks, the music is exuberant an active. Perhaps the real star of the show is Lamont's drumming. Make no mistake: Lamont is no show-off. "Breakbeat Mechanic"'s drumming shows Lamont's deep understand of drum and bass. While many drum and bass producers opted for computers and sequencers for complex rhythmic matrices, Lamont did it all on his drumkits. There is a wide range of dynamics coaxed by Lamont on his kits. The opening blast of "Johnetta and June" is a true testament of Lamont' skills. The disc moved through hardstep and other drum and bass splinter stylings to serving up mysterious trip hop style down tempo with deep rumbling basslines. There is no "filler" track as such that one listener will be mesmerized by the high-intensity drumming with swirling arrangements. Try the vinyl version with different track listing will take you on a thrill trip into another dimension; turntablists takes heed: the tracks are so slamming, you can forget about those "Jungle Toolz" break records: Lamont's groove serves up groove just as well for scratching tracks surely give any turntablist wrist a run for money.While UK junglist may have diminished in terms of their output, but Lamont show that counterpart across the ocean can groove just as hard. Like a teletubby screaming "Again, again" when hit upon something cool, any junglist should shout "rewind, rewind" after hearing "Breakbeat Mechanic" again and again.
Copyright (C) 2001 The Music Forum - Hong Kong

Alternative Press . Issue 155-June 2001
Leon Lamont
Breakbeat Mechanic

High Octane drum & bass performance

Dispelling the swampy darkness that typifies most Wordsound Recordings, NYC-by-way-of St. Louis drummer Lamonts Debut album crackles with bright, kinetic energy. Its hard to believe that Breakbeat Mechanic was played live without the aid of samplers, since some of Lamonts beats are so fast and ferocious, they fry the circuits of your average beatbox. Lamont keeps things interesting by peppering jungle uber-rythms with hip-hop (Bubblegum Ape Law, Mockery) and jazz (Dust) touches. I had given up waiting for jungles saving grace these past few years, but Breakbeat Mechanic has captivated my mind (and my feet) enough to give me hope in this rarely visited genre.-Jason Olariu

URB.  Issue 084
May 2001

Leon Lamont
Breakbeat Mechanic
( Wordsound)

With the instinct and direction that stems from his history as a live percussionist, Leon Lamonts newest release bangs with pendulum-like swings between abstract hip-hop and experimental drum & bass. Touted as being a live band, the sound on Breakbeat Mechanic is simple while complex, analog while digital. Co-producer Scotty Hards sometimes repetitive synth tactics can be more of a detriment than a contribution. Although the formula used to construct the album tends to wear a bit thin in places, there are enough live double-time breakbeats and breakdowns to make this worthwile to fans of thoughtful , experimental drum & bass.

Davin Anderson

XLR8R . Issue  49

Leon Lamont
Breakbeat Mechanic

With drum & bass firmly in factory-formula mode, its refreshing to see an outsider to the scene like former heavy metal drummer Lamont explore the form. His all-too-human pounding on this solo debut brings brings a slightly loping effect to the breaks that complement co-producer Scotty Hards freaky effects and keyboard arrangements. Fans of Jega and other moderate mid-phase- Rephlex drill & bass types will thrill to cartoonish fervor of Johnetta & June and the blurpy keys of American Black. The bottom line: these arrangements clamp on to the beats of Lamont ( whos gigged with DJ Logic, Medeski, Martin & Wood, and Vernon Reid) and ride those bastards to the knife edge of chaos. You looking at me?
Ron Nachmann

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