joed out

an auckland four-piece of the indie-pop / jangle / flying nun variety (stating their influenced by the likes of the chills, the clean, the verlaines, the 3ds, the bats etc) that formed in a 4-track capacity back in 2000. after shedding a couple of members the core unit of andrew maitai (drums) and ben barrett (guitar / vocals) soldiered on, establishing the powertool records label to release their bedroom recordings, and those of barretts solo alias – feyodor.
with new members matthew backhouse (bass / keys / vocals) and justin schilder, the line-up was complete, and powertool soon released their full length debut heroes & zeroes and the more acocmplished floorshow ep – the first to be mastered by finish producer mikeal h.
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hawkes bay based mostly-instrumental (textural, in the mogwai style) rockers maurice beckett, jeff boyle and jason johnston. three low-run releases have seen them gather quite a bit of interest through-out new zealand, and their live shows are usual well-attended. though lacking a bit of the diversity and melody that made substandard‘s debut such a bright light, they are still a highly worthwhile band, grounded in excellent musicianship.
originally forming in napier, the trio achieved attention through fairly lef-of-centre sources for an instrumental rock out, mainly as a support act for touring dub and electronic acts salmonella dub and pitchblack. subsequently the band was signed to kog transmissions new start-up indie off-shoot midium and worked with the likes of label-mates avotor.
picks in bold

  • jakob ep [1999 venn]
  • subset of sets [2001 midium 99492]
  • cale: drew [2003 midium mid006]

johnny velox and the vauxhauls

from wade churtons’ glam, punk and scorched earth policy: “in september [1977], the nucleaus of another band formed at burnside high school. brothers mark and scott brooks were guitarist and bassist and findlay calderwood became drummer. from boys’ high came vocalist michael williams. initially the band were known as uncle meat, but after they became a quartet they gave themselves a decisively punk identity. the new name managed to lampoon ‘hoon’ culture and snipe at both middle-class and freak sensibilities. johnny velox and vauxhalls was again a four-piece band built firmly on the pistols/ramones model. williams became the titular character, mark and scott brooks became kid buick and eugene dipstick, and calderwood decame dick distant.rn

though very young (all were in their mid-teens), the band’s instrumentalists had the funky long hair and flares of freakdom but like the doomed crossed over with the slightly-ripped safety-pinned-opportunity-shop jacket aesthetic of punk. williams indulged his charaacter’s glam-rock star roots and wore bright red dyed hair with his wraparound shades, slashed t-shirt and dog-collar choker.rn

in contrast to the doomed’s slightly one-dimensional pistols/english punk outrage, the vauxhalls had a decidely more ‘musical’ slant to their version of punk. in the absence of specifically ‘punk’ records for initial set-building material, the vauxhalls utilised currently available music by acknowledged antecedents. the early vauxhalls quickly mashed together and eclectic glam / 1960s set [covering bowie, eno, the stooges, roxy music, slade, the who, velvet underground etc]… as well as joking covers of television advertisement jingles…”
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  • no major releasesrn


brent tasker, andrew horst, david ball, dave steunebrink and jozsef fityus.
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nelson punk, with johnny trousers formerly of killtrain. johnny knees-up, johnny trousers, chrissy christ.
picks in bold

  • d.i.c. [2001]


mid 90s rock’n’roll outfit from andrew tolley, before he found fame with the hasselhoff experiment. jawload were based in wellington and released an album and two singles on tolley’s own kato label. tolley was joined by rod de spong, andrew goodchild and paul lester.
picks in bold

  • ‘gimp’/’havana joe’ 7″ single [1995 kato Kato 5]
  • seedy [1996 kato]
  • ‘stigma’/’nothing to say’ 7″ single [1997 kato Kato 11]

johnson, greg

auckland based singer song-writer with a large body of work (a fair portion as the greg johnson set, the rest solo) in a fairly mor capacity, though with the occassional witty lyric. hit it big with his first solo-accredited release, vine street stories.
picks in bold

  • the watertable [1989 pagan PAL1051]
  • everyday distortions [1992 pagan PAC1093]
  • the watertable [1993 expanded reissuepagan PAL1051]
  • vine street stories [1996 pagan PACD1115]
  • chinese whispers [1997 emi]
  • seabreeze motel [2000 emi 5231692]
  • the best yet [2001 compilation emi 5368792]
  • here comes the caviar [2004 compilation emi]

awards etc
rianz awards 1992

  • top male vocalist of the year greg johnsonrn

apra silver scroll 1997

  • song writing award ‘liberty’rn

jean-paul sartre experience

for a band that has so much influence and family history spread across its members, jean-paul sartre experience (later shortened to jps experience, due to legal wrangles with sartre’s family estate) produced what could be considered a limited body of work – never living up to the expectations they had made for themselves as one of new zealand’s best live acts during the late 80s and early 90s.
jpse’s first album, entitled love songs is something of a new zealand classic – a brilliant example of quirky new zealand guitar-pop. a varied album based around love and positively, i always find something to enjoy every time i come back to it. jangley and infectious numbers such as ‘the loving grapevine’, cherished sing-a-longs like ‘i like rain’, and all-out fun romps such as ‘crap-rap’ keep me entertained, if only for the fun aspect.
after the subdued but often sparkling quirky debut, they took a very long time to release the size of food, which showed a change to a more rock sound.


tiny auckland d.i.y. (distribution through global routes) punk, hardcore and metal label with a handful of releases from dsm, evil priest etc.
compilation discography
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contact details
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