The first question is a fairly obvious one. You're giving your new album, Prologue, away for free on your website, www.themilkcartonkids.com. Why are you doing that? Are you deliberately trying to destroy the entire music business from within? Are you in fact the folk-Radiohead?
You're not the first to accuse us, although maybe the first to do so sarcastically. We've never envisioned ourselves as being 'within' the music business, so if there's a sabotage here it's from an invader rather than a mole. Similarly, but employing a different metaphor, if Radiohead made waves giving their record away, we're not even in the pool—and being considered in the same sentence is flattering beyond what's appropriate. It seemed obvious to us that a new band, especially one that defines itself by its live performance, would give its recordings away for free. We're still making sense of why it's perceived as controversial. We should say here that we do sell our music as well, primarily at our concerts but also online. Those who want to show their support have the opportunity and those who want to share our music when they discover it can do so guilt-free with no hoops to jump through.
Can you tell me a bit about the history of the band? You know, the high points!
The history of the band is short. We shelved our solo careers in favor of this duo only a few months ago, so there are very few points at all, high or low. The first high point—and the origin of the band—was hearing playback of the first time we ever played together at Kenneth's house in the Eagle Rock hills. That was the moment we realized the completeness of the sound we could create with just our guitars and voices. It lead us to test the waters with a few concerts as the duo—as yet unnamed—and the response was overwhelming. We're proud of a handful of things that have happened since then which can be considered high points: we're proud of making two records in our first year, of touring North America twice in our first year, and of—for the first time—being held with some great company on the pages of publications we've long admired. The fact that NPR noticed us is validating, like some sort of fleeting eye contact with a high statesman.
The way the two of you play together is just heartbreakingly beautiful. Do you have any idea where this magic comes from?
Heartbreak tempered with beauty is the best way to experience either. It doesn't come naturally, whatever it is. While it does feel serendipitous in many ways that we've come together, it is laborious to settle on our lyrics, harmonies, arrangements, etc. We endeavor to make the most we can of a minimalist framework—hopefully instilling a density into the recordings that reveals itself on multiple listens.
What is that you both bring to this equation? Do you different musical ethics, approaches or tastes that, when combined, become this beautiful music?
We are very different as people, as touring partners, as friends—and balance each other in stark contrast. Those personality differences inflect our respective playing and singing—one being frenetic yet refined, the other stoic and simple. What we have in common, though, is that we've each become the one person that the other will let in and allow access to his musical process. From writing to performing to how to present ourselves as a band to the world. We trust each other immensely, push each other vigorously and respect each other uniquely.
I hear everything from Woody Guthrie and Simon & Garfunkel to modern bluegrass in your songs, and yet I hear something I've never heard before. What is the musical essence of The Milk Carton Kids?
This, to be honest, is one thing we've never discussed. Our influences have been told us by fans and writers more commonly than they've been waxed on from within. Luckily, we're pleased with the comparisons we get, and even more so to hear that there seems to be something original perceived in our efforts.
Joe Henry's saying some very nice things about you on the website. He's my favorite producer, and over the years, I've spoken to some of the people he's worked with, Rodney Crowell, Mary Gauthier etc, and they've all been amazed by the way he manages to make them completely comfortable in an otherwise often uncomfortable setting. I know he didn't actually produce Prologue, but please tell me about your relationship with this absolutely amazing genius?
Well he's our favorite as well—in both production and songwriting—and remains a mainstay in our tour soundtrack. More than most Joe seems capable of distilling what's being presented to its best, wrapping that with a depth and complexity that sustains infinite repetition. Joe's one of the smarter people you'll ever get to talking with—don't think for a minute that what resounds through your speakers became without a healthy dose of exploring facets that extend well beyond music. He's a master curator with a silver tongue… He exhibits this flatteringly in the foreword to our album, so aptly capturing in prose what we attempted through music that we consider it a part of the album and present it side by side with the music in every context. We have undefined plans for a musical endeavor together in the future. But it's been bandied about by both camps. Kenneth will join Joe on stage at Largo in Los Angeles in October to stand-in for a guitar voice that Marc Ribot contributed to a number of songs from Joe's forthcoming release Reverie.
You're doing quite a lot of touring in the US. Any plans to come over to the UK and Europe any time soon?
Yes, please. We each have a bit of experience there from our days as solo artists, and the common thread has been the acceptance and enthusiasm of the foreign crowds—so much so that we've often felt more at home touring your country and Europe than here in our own. We'll see you soon.
