antiMusic: You mentioned being "swamped" in an email leading up to this interview. That sounds like a good place to start. What's happening in the life of Ollie Byrd?

Ollie Byrd: Well, I just added new members to my live band. Mike Presta on drums and Michael Gleason on guitar. Both are great musicians and swell guys. We've got a bit of work to do (we've only practiced twice and there is a west coast tour in a bit over a month). I'm producing new songs for the NYC band Wormburner. And on top of that, I recently started "going steady" with a gal. So there is a lot happening right now.

antiMusic: If I understand correctly, at this point you are the only presence in the studio. Is there any plan for including these live players in the recording process?

Byrd: I hope to add other players into the mix in the studio. I haven't much before just because I am impulsive and compulsive. Once I get started in recording a song, I get excited and start finishing and doing all the parts, just out of sheer enjoyment. Plus, I am a bit of a perfectionist and only I know exactly what I am going for. I do intend to incorporate some of the guitar work of Raymond Weiss of Le Rug into this record. He played the second guitar on the song Watersports live and [added] some harmonic work that is quite good and fits my vision of the song while adding something new from him.

antiMusic: Also, give a little background on your approach to producing music.

Byrd: I am most impressed by the production of AC DC by Mutt Lange. I try to fill the mix in the same way he might. Filling the left and right ears with guitar that drives the sound forward. Putting the low ended boom in the bottom from the bass drum. Having a punchy snare in the top middle. Bass filling the whole middle out. It's really a "basic rock" approach that I take. I like how AC/DC is just the basic rock instruments sounding naturally, how it's not all suped up with effects and fake sounds. Then, once I've created a full sounding basic mix, I draw on production influences from Brian Eno and Daniel Lanois on U2's The Joshua Tree or Unforgettable Fire... Eno's solo work like "Here come the warm jets..." Phil Ek's symphonic guitar mixing on Built to Spill's "Perfect from now on..." Jimmy Page... Queen Records.

Of course all of these guys had big expensive studios and years of training. I'm just a bum trying his best on a Dell laptop, so I have a lot of limitations both in knowledge and equipment. But I look to Mutt Lange, Brian Eno, Phil Ek, Jimmy Page, and whoever did Queen for guidance.

antiMusic: You have not been shy about using the web to promote your music (plus some philosophical and political ideals). Tell us a little bit about your method of networking and the degrees of success you've enjoyed thus far.

Byrd: I'm not sure I've been "promoting" or "networking." I guess at times I have done "gimmicky things," but mostly, I was just "being myself" on Myspace. When Myspace came out, it seemed to me to be a great opportunity for bands and people to share music and ideas without mediation by magazines, radio, etc... No mediation from the "trend setters." It seemed a great chance to reach out and find like minded people for mutual appreciation and different minded people for interesting discussion and debate. And in the beginning of the Myspace trend, this was a rewarding thing to do. I got to know how many people felt about much music, and how they thought about many philosophical and political issues. I made "internet pals" with some peeps that have continued on till the present.

But some people are so used to looking to the music press and radio to tell them what to do, they just interpreted any contact from a band as "spam" and "band networking." This group of people grew and grew. And there is some validity to their view. The amount of "[crap] bands" seemed to be rapidly growing too. Perhaps it just became too much work to sort through the [crap] bands and the good ones. And at one point it seemed to become true that "Myspace = spam." That's not to say it's still not valuable to those resourceful chaps who are seeking out music for themselves, but I find that many people aren't open to it anymore.

As far as "shyness," to me it seems incredible how shy many have become. Many people have become so afraid of being judged as "abnormal" or "unfashionable" that they don't volunteer their ideas or participate in anything. It's quite bizarre and I've heard that it's a particularly "American phenomenon." If I'm thinking something, its just makes sense to bounce it off of others to see if I'm getting it right or not. I'm not afraid of being wrong or looking like an idiot. If I'm wrong, I'll admit it. If I'm an idiot, hopefully I'll realize it. Some people have been taught that everything they do, say, or wear is the expression of their identity. I think that's total bull[crap]. Life is complicated and it requires experimenting, curiosity, and bravery dare I say! There's no reason to get wrapped up in your own identity so much that you are afraid to bounce ideas off others and share some experience.

antiMusic: Your label, Stereotype Records, like you, is not traditional in its approach. Discuss your relationship with Stereotype and Philip Golden.

Byrd: They do a good job. They are putting out acts based on quality and not "marketing potential." Many indie labels make this claim, but few actually follow through. And some of the most famous indie labels have become fashion clubs. Philip is a man of vision and conviction. And a fine songwriter too.

antiMusic: Discuss the contributing factors to your growth as a musician (and writer) over the past few years. As a listener, I am impressed with how you've evolved so quickly between the initial tracks you had on Myspace to Barrel O' Fun to the new material for the upcoming Watersports.

Byrd: I'm glad hear that. I guess I feel a kind of responsibility to the History of Rock to make songs that do something at least close to what great songs have done for me. Songs do something to you. They move the entire space of experience. I am so unimpressed by most of what is hailed as "cutting edge" these days and I have just wanted to stay true to the spirit of Rock n Roll. If I grow as a musician or songwriter, it's because I want to have songs that do more to me as a listener. My aim has been to make music as affective as the great "classic rock" songs. I see Rock as a thing unto itself and my small understanding and songs as a blip within Rock. As that blip, I want to make something worthy of being a part of Rock. That may sound a bit like Jack Black from Tenacious D, but I think there is value in that kind of perspective beyond a laugh. But I make music that, to me, is about music. I imagine that that may be different than some musicians who make music to "express themselves, show their punk attitude" or something like that.

antiMusic: What are your plans for the release of Watersports?

Byrd: I don't have a plan right now except to be careful. I'm weighing the options. I'm in contact with an A&R guy from a big label, I've got my pals at my indie label, Stereotype Records, and I've got ideas about putting it out myself. I'm at the beginning of finishing it, and once it's finished, I'll be in a better position to know what it is and where it belongs. The right person at the right major label might be well suited. The wrong person at the wrong major label could be a disaster. So it just a matter of waiting at this point to see what comes up. I'm not too worried about that. I'm more concerned that I get the songs sounding right.

antiMusic: You are immersed in the music scene. Expose one band/musician who is relatively unknown at this point, but you expect to hear great things from in the near future.

Byrd: Brock Ginther, a dude from Ohio, has a fine ear for crafting a punk rock song, yet also has a wealth of psychedelic mysticism to his guitar playing / songwriting. I expect he'll do some great things. He actually already has. His first record just came out and it is fantastic.

antiMusic: Talk about one distinctly unique experience you've had because of your involvement in music.