Andrew Simmons: Let’s get started. What brought about the formation of The Day Traders?

Jason Klauber: This summer I wrote some songs. I had some odd experiences and some odd relationships. They became songs. They became rock and roll. It was just so great being in New York, writing rock songs. Matt was in Brooklyn, living in Williamsburg. We had some ideas, and we decided we might want to start a band. Then, at the freshman barbeque, I saw Joe, and he was just sorta sitting there. We went back to my place. He played bass, I played guitar, and Matt played drums, and…

AS: Awesome.

JK: We were thinking about having you as the lead singer again but I ended up wanting to be the rock star. And it’s something I feel bad about. But it’s okay, I hope…

AS: Naturally.

JK: I felt really comfortable working with The Holy Cross Liquors with you as the frontman, but this is just the way The Day Traders are going to be. And I…

Matt Asti: Page two.

(Joe laughs and lights a butt)

AS: Sounds good. So, I want to hear Matt and Joe’s perspective on being the rhythm section of this new outfit.

Joe Beranche: I’m excited to work with Matt. It’s pretty cool.

MA: Definitely.

JB: It’s kind of an interesting perspective because I’m playing bass, and Matt is obviously a much better bass player than me.

JK: Also, Matt and Joe lived together for three years, so they have that bedroom unit going on.

JB: I’ll say.

AS: I’ll say.

JK: They could do it in their sleep.

MA: That’s not true.

AS: So tell me about the songs, man. What’s your tune “Electro-shock Microphone” about?

JK: Well, there’s actually a story for that one. I was at my house in New York, singing into a microphone, and it wasn’t grounded properly, and I kept shocking my lips.

AS: That happened to me once at a Holy Cross Liquors show at Ministry.

JB: Oh yes, I remember that gig.

AS: I had a big cut on my lip.

JK: I kept shocking myself really bad. So, I just said “electro-shock microphone in my mouth,” and that sorta had some obvious sexual implications. I mean, the song isn’t trying to have any gross sexual imagery or…

MA: We’re not trying to gross anyone out.

JB: Yeah.

MA: It’s love.

JK: It’s a song about seeing your own masculinity as something to fear, and as something someone else should fear. It’s about feeling out of control. We all act pious but sometimes your animalistic side just takes over. I’m on the prowl.

AS: That’s great.

MA: Love.

JK: Basically, I’m telling a girl to walk away from me.

AS: Swell. Let’s get into some new stuff. What are some of your musical influences?

JK: The Stooges have always been one of my favorites. I think that comes through when I’m singing because Iggy Pop is just an amazing singer. That whole Detroit sound is being re-popularized by bands like The White Stripes. The rock and roll is very pure, and old school. The Stooges didn’t want to sing about flowers or shit like that in the late sixties. They were inspired by machines. They were born working-class in Middle America, and….

MA: Like Jason.

(Laughs abound)

JK: I come from New York City, but I was still influenced by them the whole time.

JB: I like Chopin. The Mazurkas are great. I know nothing about pop-rock.

AS: Matt, how about you? Do you know the bands that Jason is talking about?

MA: Um…no, not really. I guess I’ve heard The Spooges before…The Stolling Rones…and The Strite Wipes. They were good. They are all excellent interpreters of Chopin. I mean, when Piggy Op hits those nocturnes, it’s very emotional. And, like Jason said, if you’re playing the piano, that’s more than just an emotional thing…it’s a very sexual thing, and a very non-sexual thing at the same time. That’s the dialectic I’m going for in my drumming.

JK: It’s about the sacred and the profane.

AS: Cool. Any closing remarks?

JK: It’s an honor to be working with a couple of visionaries. I think when three minds like this come together to create one thing, and that one thing is rock and roll, there’s a lot of power.

AS: No shit.

MA: Right.

JB: That’s true.