La Mômo
La Mômo grew out of an all female jamming band comprising three of its members, Sadie Fredericks, Tomoko Yamashita and Safi Schlict who, after recording a demo enlisted a male in the form of one Chris Anderson to play the keyboard parts at gigs who, in turn summoned the arms and legs of a Wolsey White for drummage.
Early gigs were enhanced with projections of stills and moving film and a strong shoegazer, space-rocky sound started to emerge. Gigs were played in London holes and recordings were made on the legendary Barge in Twickenham, thanks to Ian Brodie, just as the line-up went through its first shake up with Safi going, closely followed by Wolsey and everyone else swapping instruments (and partners).
Kid Loco later got his hands on these recordings and remixed them for the band.
Further gigs were played as a three piece, namely Sadie, Tomoko and Chris with new songs entering the repertoire with the projectors still whirring away until naughty Tomoko also left the fold.
Rona Innes and Alistair Macdonald were then persuaded to join and so La Mômo entered its most solid line-up with Rona on synths, Al on bass and backing singing, Chris on looper garage guitar and backing singing and Sadie on singing and beats and bloody noisy guitar fuzzing.
Around this time the groop became well liked on the live London and Brighton scenes, garnering all sorts of attention from John Peel to Everett True (in his seminal music mag Careless Talk Costs Lives) and soon our heroes and heroines discovered themselves in a recording studio with ace record producer and Bolanophile, Gordon Raphael who selflessly recorded another four tunes with them.
Let it be remembered that also, at this time the groop consisted of two married couples, immediately elevating their status (if not their bank accounts) to Abba-sized [pre]megastardom.
London fashion week hosted a La Mômo gig in some swanky West End cokehole, gigs were played wearing the recycled post-fash masks of Noki and lots of exceedingly trendy holes, full of unduly beautiful and interesting people were subjected to the band’s blasts. Here below is some live La Mômo playing the Noki night.
Jon Poole, better known as a guitarist and bassist found himself playing drums briefly with La Mômo, one notable gig being at a raucous Orchestra pit event supporting Charles Hayward.
Alistair then departed, shattering the “Abba illusion,” and Louisa Hernandez joined us on bass for just one gig then Jon threw in the drumsticks and picked up his bass instead. Rona soldiered on for a couple of gigs but the beleaguered forces of Mômo were um, beleaguered. Two more tunes were recorded at a Metway Session in Brighton’s Metway studios with longtime recording associate Jake Rowsham and they still need mixing.
After Rona left, the band were offered a gig at The Montague Arms in Peckham(ish) for which Jon was otherwise engaged so Sadie and Chris did the gig as a duo and much to their surprise it turned out great.
The album, Party Rings has yet to be officially released.
Early gigs were enhanced with projections of stills and moving film and a strong shoegazer, space-rocky sound started to emerge. Gigs were played in London holes and recordings were made on the legendary Barge in Twickenham, thanks to Ian Brodie, just as the line-up went through its first shake up with Safi going, closely followed by Wolsey and everyone else swapping instruments (and partners).
Kid Loco later got his hands on these recordings and remixed them for the band.
Further gigs were played as a three piece, namely Sadie, Tomoko and Chris with new songs entering the repertoire with the projectors still whirring away until naughty Tomoko also left the fold.
Rona Innes and Alistair Macdonald were then persuaded to join and so La Mômo entered its most solid line-up with Rona on synths, Al on bass and backing singing, Chris on looper garage guitar and backing singing and Sadie on singing and beats and bloody noisy guitar fuzzing.
Around this time the groop became well liked on the live London and Brighton scenes, garnering all sorts of attention from John Peel to Everett True (in his seminal music mag Careless Talk Costs Lives) and soon our heroes and heroines discovered themselves in a recording studio with ace record producer and Bolanophile, Gordon Raphael who selflessly recorded another four tunes with them.
Let it be remembered that also, at this time the groop consisted of two married couples, immediately elevating their status (if not their bank accounts) to Abba-sized [pre]megastardom.
London fashion week hosted a La Mômo gig in some swanky West End cokehole, gigs were played wearing the recycled post-fash masks of Noki and lots of exceedingly trendy holes, full of unduly beautiful and interesting people were subjected to the band’s blasts. Here below is some live La Mômo playing the Noki night.
Jon Poole, better known as a guitarist and bassist found himself playing drums briefly with La Mômo, one notable gig being at a raucous Orchestra pit event supporting Charles Hayward.
Alistair then departed, shattering the “Abba illusion,” and Louisa Hernandez joined us on bass for just one gig then Jon threw in the drumsticks and picked up his bass instead. Rona soldiered on for a couple of gigs but the beleaguered forces of Mômo were um, beleaguered. Two more tunes were recorded at a Metway Session in Brighton’s Metway studios with longtime recording associate Jake Rowsham and they still need mixing.
After Rona left, the band were offered a gig at The Montague Arms in Peckham(ish) for which Jon was otherwise engaged so Sadie and Chris did the gig as a duo and much to their surprise it turned out great.
The album, Party Rings has yet to be officially released.