From the bubbly giggles and back-and-forth, relaxed banter that only siblings--particularly identical twins--can share, it's easy to realize why making music has come so naturally for Kim and Kelley Deal. During an hour-long telephone conversation with LiveDaily from Kim's Dayton, OH, home, the two often completed each other's sentences with uncommon ease, sprinkling the conversation with girlish, earsplitting laughter. There's no question that they are a dynamic duo. During a memory lapse, Kim turns to Kelley for help--fondly referring to her sister as "my hardrive."

Since the '70s, the twins have played in bands--together and separately (Kim in The Pixies and The Amps; and Kelley in The Kelley Deal 6000 and Last Hard Men). However, their most consistent collaborative effort has been The Breeders [ tickets ], the alt-rock project Kim started with Throwing Muses guitarist Tanya Donelly in 1998. In the current incarnation of the band, the Deal sisters play guitar and share vocal duties. Despite a drug-induced hiatus and setbacks from other projects, The Breeders have released four albums to date, scoring major success with the 1993 single "Cannonball."

Notorious for having extensive time between albums, The Breeders are now shocking fans with their release of the EP "Fate and Fatal" just one year after their 2008 LP "Mountain Battles." Everything about the EP has been a DIY-effort: the recording, hand silk-screened album art and a roller derby-inspired music video. The group was also recently selected to curate All Tomorrow's Parties (ATP) music festival, to be held in England next month.

A few days before the "Fate and Fatal" debut, the Deals took some time from rehearsal to discuss details of the new release and ATP.

LiveDaily: What inspired you to release an EP at this particular time?

Kelley: My answer is that it happened sort of organically. We were writing last summer, and we had started recording. We knew we were doing ATP, All Tomorrow's Parties--we're curating that this year--and that was probably the biggest [motivator]. So, we thought we should put out a single. We'd already recorded [the songs]--because that's what you do; you write songs and you record them. We had three songs, and were like, "Well, maybe we should put out an EP," but EPs are usually four songs. Well, we've always wanted to cover that Bob Marley song "Chances Are."' So we put that out.

Can you tell me a little bit about the songs on the EP?

Kim: Well, you know, "Chances Are" is a cover of Bob Marley and The Wailers. Now, you know the way Bob Marley is, he's sort of like Frank Sinatra--his stuff has been so repackaged and sold over the decades. I found this cassette tape someplace and it said "Mellow Mood" on it. Now, I don't even know if that is a licensed release in the States or not. It could be something I picked up on the road in England--who knows? But, the song "Chances Are" is on that. I fell in love with it, and I've been listening to it. You know when you make a mix tape for yourself or CD for your iPod playlist? It's always on my mix tape--that [song], and "For All We Know" by Billie Holiday. There's [also] this really beautiful song by Free, you know, a band called Free, and it's got Paul Rodgers on it. Free is usually not my cup of tea. It's kind of punk rock, but in the '60s punk rock.

Back in the old days in Jamaica, from what I gather, from my experience (laughing), that [reggae] never even existed until the '70s. What people were into back then was doo-wop, because people wanted to get laid--that's The Wailers. I fell in love with ["Chances Are"] and we tried it; and we tried doing it for years. We tried it with a band. Then, we just took it to [Steve] Albini in Chicago. ... Albini has a studio there and we just took the afternoon and recorded it. That was good.

"Pinnacle Hollow" is the four-track song that I did here at the house in Dayton. I am really intrigued by that song because it's so pleasant--which sounds almost like an insult. [laughs] Like, if someone said that to me, I'd get mad. "F--- you, man!" [laughs] But it's a very enjoyable listen. Really, honestly, it's weird. I could just listen to it all day long, and it's not that it's that original. It's not like I'm patting myself on the back like I'm this genius. It goes A, to a D, to an E minor, G, A, but it's just so good, and I don't know why.

"The Last Time," I actually woke up and I just had it in my head. That's never happened to me. I didn't dream it; I just woke up with it in my head ... and I heard a guy singing it [in my mind]. But, of course, I just knocked that out of my head. It was more uber-goth, like a heightened sense goth, but not the passive Joy Division-goth. It was theater goth--like Adam from American Idol, his version of goth. [laughing with Kelley] It's Broadway goth.

This is the only song The Breeders have done that didn't hit tape. Well, it did for mastering, but it's all ProTools. I know, I am the person who always talks about how digital sucks and analog is better. I still totally believe it; I just can't afford it. You can't record stuff anymore! It's too expensive because music is free--there's no way to pay for the analog. [laughs] So, we do it on a computer. Now, I don't use Garage Band. We have a professional ProTools thing. I don't know how to run it. I bought the software and I have a friend who knows how to run it. He's a nice guy. So, I did it all down in my basement. It's not programmed, per se. He recorded my sound values from the beginning to the end of what I was playing. Then I thought, geez, I was singing it, and it was OK, but I had a guy--f--- you--I dreamed was singing it. (laughing with Kelley) I asked the guy who was recording, he's from New Orleans, which is where The Gutter Twins are based out of, and he knew one of the guys [Mark Lanegan]. I thought it would be cool. We were talking about [Lanegan] earlier because of some sort of recording thing. So, I said, "Speaking of Mark Lanegan, I had thought a guy would sing this [song]. Do you think you could get a hold of him?" He sure enough got a hold of him that day. I sent Lanegan the file and he sang it the next day. He's so good.

With me singing those words, it's like, ‘Ah, she sounds a little sad,' but when Lanegan sings, it's, like, epic, like a Viking emotion song--the kind of emotion that a giant would have!

This is your first self-release. Why did you decide to do that?

Kelley: When it came to the EP, it was like, ‘What do we do--take a meeting with a record label for an EP?' It just seemed weird and overkill, just inappropriate somehow. We knew we were just basically going to give it away, but we wanted some vinyl to sell at shows. So, we just decided to self-release it. Another reason was, we really wanted to hand-screen the artwork. We know this guy named Chris Glass and he designed the album cover with us. He's the one who designed the logo for Obama's "American Recovery and Reinvestment Act." It was really fun. We went to where he works and we hand-screened all the vinyl sleeves.

Did you personally silk-screen every single sleeve--wasn't it 1,000 copies?

Kelley: Yeah, it was 1,000.

Were you exhausted afterward?

Kelley: Yeah, we did it over two days. The next morning, my stomach muscles hurt. It was strange.

Had you done silk-screening before? I know you, Kelley, are known for your knitting. Are both of you crafty?

Kelley: Yeah, in my basement in Minnesota, I do T-shirts. This is a little bit of a different process. Wire and Twine, the company where we did this in Oxford, OH, were really good about setting us up with the right ink and figuring out how hot the ink needed to be when it went through the dryer. They really helped us out with that.

Kim, are you crafty? Would you say you're crafty? Yeah, she says she's crafty. She doesn't like to call it that because it sounds like she has a glue gun out at her scrapbooking table. [laughs] She dreams of men and goes to her scrapbooking table and gets her scrapbook out.

The EP was released on Record Store Day [April 19]. Is there significance to that? Was that something that was important to you?

Kelley: It was weird. It just so happened that it was going to be released right about now, and we said, "Oh, there's this Record Store Day thing, let's jump onboard." It was a good idea because there was a lot of talk about it and it was like an in-store. It just worked out good. Sounds like a funny thing, "We just jumped onboard," but we did.

Why did you make the decision to have a roller derby team in your "Fate to Fatal" video? Did the two of you take part in the derby action at any point?

Kelley: I did get on skates down there and was just rolling around, just had the music going and just thinking about how it was going to work. When [the roller derby girls] got out there--no way--they go fast! The director kept saying, "Slow down, slow down." Man, they try, but they just can't stay slow. You know, they're just going-for-it at all times.

I knew a girl [Amy Whited, who was on a roller derby team] for a long time and had talked about how cool it would be to do something visually. These things happen over a period of time, and put you on this road you realize that you're on. Kim and I were talking about whenever you want to go see a band, I end up going on YouTube, because, usually, it's because I want to hear a song or see a video. I like seeing a video with a song. I really wanted to have a visual for the song because that's how we'd find it. After having talked to Amy, this song really lent itself to the video. You know [the lyrics], "I don't want to break a thing," it just so happened that Amy broke her leg a couple of years ago doing derby. It all kind of came together.

How did you get involved as curators for this year's All Tomorrow's Parties, and how did you choose the line-up?

Kim: Barry Hogan, he's the guy who started this. You know, Steve Albini invited us to go in 2002. That's when we went. It's on the west side of the island of England, and it faces the really cold Atlantic Ocean. It's really freezing there. The wind is blowing. [laughs] I guess we shouldn't say that! It was fun. [laughing with Kelley] It was freezing. We had fun, so everybody come this year. Bring a jacket and a hat.

Yeah, and [the band members] picked some really good bands. We all made lists, and we submitted our lists. I liked most people's selections. Some of them were like, eh? Some of them I hadn't even heard of, some of them I thought were really good ideas and I wouldn't have even had the nerve to ask--like our bass player Mando [Lopez] picked Gang of Four. I'm like, ‘Oh my God!' And they said yes. That's cool.

Our drummer, Jose [Medeles], suggested somebody, but we had never heard of them. Kelley and I MySpaced them, and called them. [laughs] We emailed him: "Ixnay on the last request." We totally saw the band and said no way.

Oh, by the way, Kelley, I'm gonna tell you, but so Monica can hear it: Barry Hogan emailed today, since Tasties can't get their s--- together, we're gonna need somebody else, maybe. We put a bet on it yesterday. There's this really, really cool band from Ohio called The Tasties. We actually cover one of their songs on our last record. They are the cutest band. They are a three-piece. Kelley suggested them. I didn't suggest them because I knew it was beyond them, and sure enough, I put $50 on it that they wouldn't get their s--- together to go to England. They can't; it's so adorable. One of the guys is like 40 and has never had a driver's license. They are just so left-brained or something. A lot of times, those kind of people are musically unbelievable. With The Tasties, you'd have to take a car and drive to their door [to get them to the show]. I don't even know if they have phones. It's amazing because they are so creative.

But anyway, [ATP] sold out, and that's good. I love these bands. I hope that people do. You know, it's like throwing your own party, you want people to come. I'm excited.