Loincloth: Interview With Steve, Tannon & Cary
Those of you with long memories may remember a rather spiffy 7” single released by Southern Lord back in 2003 entitled ‘Church Burntings/New Jersey’ by a band named Loincloth. Said band was the project of Confessor bassist and drummer, respectively, Cary Rowells and the octopoid Steve Shelton, along with guitarists Tannon Penland and Pen Rollings, of Honor Role, Breadwinner and Butterglove renown.
The band purveyed a ridiculously tight and highly rhythmic form of Fancy Tech-Doom, and those two tracks left people in the know – i.e. ME – salivating for more. Alas, life got in the way and it is only now in 2012 that Loincloth – minus Pen Rollings – have been able to unleash their frankly jaw-dropping debut album ‘Iron Balls Of Steel’ upon an unsuspecting world, once again through the largesse of Greg Anderson at Southern Lord.
I decided to attempt to reign in my inner fan-boy and ask the band some burning questions on the eve of the release of ‘Iron Balls Of Steel’…
Guys, I want to open by asking you a question that I think has been on all of our minds, WHERE THE FUCK HAVE YOU BEEN SINCE 2003 AND WHAT THE HELL HAPPENED TO PEN?
Tannon: Well, I wound up doing a lot of moving over the last 8-10 years. I also was forced to deal with a mountainous level of personal turmoil. I had some good friends die which in and of itself leads to a lot of displacement. The interesting thing was that even amid the chaos of my life, Loincloth was steadily looming in the back of my mind. We had created something in the original demo that genuinely spoke to me that I wanted to continue pursuing.
As for Pen, he too was dealing with a lot of personal shit. Unfortunately for him that meant a dwindling interest in playing music. We eventually had to move on. We were bummed. The spirit of Pen however can certainly be felt in places throughout “Iron Balls Of Steel”.
Steve: Fortunately, Cary and I were able to stay busy throughout the period in which Tannon, and then Pen were dealing with their personal lives. Loincloth was always the band I would have stayed in above all others but as luck would have it, the band were never in a position to keep things moving. Cary and I helped put together Confessor’s second album “Unraveled” which was released in 2005. There were a handful of shows that Confessor played around that time and we had some fun with that, but I always wished that it had been Loincloth that was out there doing things. Honestly, I would not have stayed interested in playing with any other band for that long without any sure sign of things eventually sorting themselves out. Loincloth has always been the band that suits my style of drumming best, and the music that we have written has been exciting to me from day one. Tannon was able to move down to Raleigh in 2008 and we focused on writing enough material to finally record again.
For those who may not know the background of Loincloth and its members, how do you all know one another?
Tannon: Many moons ago in the late 80’s/early 90’s I was struck with the hammer known as Confessor. Those guys are from Raleigh, NC which is about 3 hours south of Richmond, VA. They would come up fairly regularly. Every time Pen and I saw them we were left virtually apoplectic over how fucked up and heavy they were. Until I began playing with Steve and Cary my relationship with them was really that of “fan”. Over the last 10 years they have become dear friends.
I met Pen in the hardcore scene here in Richmond in the early to mid-eighties. We quickly became friends. He is older. He opened my eyes to a lot of great music. I remember one hot ass summer day before I knew Pen well (I was 15 or 16) standing in a club with him and two other people (total) as the Melvins set up. Little was known about them at the time. “Gluey Porch Treatments” hadn’t yet come out or had just come out (I can’t remember). We experienced a kind of “HEAVY” that day that neither of us had experienced before. The way he flipped out over that was one of the many reasons why I wanted to get to know him better. It spoke to me similarly. I am ultimately really happy that Pen and I were able to write and record the original demo together. He has been an imoprtant figure to me both musically and personally.
Steve: I met Pen through Corrosion of Conformity back in the early to mid 80’s. He was in Honor Role at that point and they were good friends with COC. I didn’t get to know him until he was in a band called Butterglove that Confessor used to play with quite a bit. He and Tannon were already friends and I got to know Tannon peripherally at those shows. I first met Tannon at a Motorhead show in DC in 1986, and again at a Slayer show at the same club one week later. Cary and I knew each other in high school but not well. We sat across from each other in our home room and he was always as easy a person to be around as you could ever find. That’s still the case today. Everybody loves Cary and honestly, what’s not to love? A year later I was asked if I might be interested in playing in Confessor. Their singer, Scott heard me playing at my parents’ house from the road one day and he knocked on the door. I remembered him from high school, and I liked Confessor’s sound though it was very different from what we became later. It took a year to get the other guys in the band to give me a shot, but eventually they heard me play and Cary has been stuck with me ever since.
I don’t remember the first time I spoke to Pen, but I remember the first time I saw him. He looked hilarious, and he was hilarious. He leaves an impression on people every time someone meets him. He and Tannon were always at Confessor shows in their hometown of Richmond, and virtually every show here in Raleigh. We became friends because we all loved seriously heavy music, but also because we liked and disliked the same things about music. We loved it and laughed at it for the same reasons.
Tannon: I always forget that I met Steve that week. What a fucking week!! Slayer- Reign in Blood tour, Motorhead- Orgasmatron tour and I get to meet Steve Shelton!!!!
What a week indeed! Now, I’m wondering – has the dynamic changed now that you only have one guitarist?
Tannon: I was really unsure of how that was going to go at first. There is such a unique quality in Pen’s playing that I didn’t know what Loincloth was going to sound like without him. We tried out 3 bad-ass guitarists for the spot but none of them really seemed to be interested in the angular/put some dynamite under the riff and blow it up approach to composition once they were in the practice space. It is not as though any of the guitar aspect of Loincloth is particularly difficult technically. It’s just that it comes from a primarily rhythmical space, and a rather fucked up one at that. A lot of people just kind of glaze over with this kind of music. It comes to Steve and I very naturally. It makes sense to us. In the end we decided that it should just be one guitarist involved for the recording. Steve was great with contributing a lot of guitar ideas to this record. I think it really worked because Steve became the second (virtual) guitar player in enough spaces that it feels like two guitar players while maintaining the tightness of one guitar player playing it. I’m pretty damned happy with how it turned out.
Steve: Actually, the music changed far more than I had suspected! I was comparing the older recording with the studio roughs from “Iron Balls of Steel” and I was astonished to hear how different the band had become. Tannon and I have many more years as fans of metal than Pen. Pen’s guitar identity was not defined by metal, whereas Tannon and I both grew up as musicians playing metal first and foremost. The biggest difference is that older Loincloth reflects an enthusiasm for the music but lacks the finished sound that Tannon and I spent so much time crafting so carefully. Pen loved playing the kinds of things that metal made new to him but he was never as patient with ideas as Tannon and myself. Tannon and I always knew there would be a payoff (at least in our own view of heavy music) if we took the time to pluck out what to us seemed superfluous. Pen was more into spontaneity. He was never as interested in refining things beyond a certain point. Tannon and I approach the first draft of a song as a block of marble that has a Michaelangelo hidden within. It’s up to us to chisel it out.
I can imagine a lot of players not ‘getting’ it, I guess you’re either wired to receive music like this or you’re not; it really is that black and white.
So, Tannon, what were you up to before Loincloth? I know you were involved with GWAR in some way, but that is about the extent of my knowledge.
Tannon: I was lucky to grow up in a really dynamic music scene here in Richmond. It was a close knit community. In the early 90’s I was without a band and had riffs I wanted to explore. The band Breadwinner had just broken up. My friend Bobby Donne who was their bass player and I decided to have a go at playing some music. We got in touch with Brad Roberts who was and still is the drummer of Gwar. Brad is a super heavy and finessed player. We named the project Koszonom . It was instrumental. We recorded some songs up in Baltimore that were released on a local cassette only label by our friend Greg. Bobby then left to join Labradford (another great band from the history of Richmond). Brad and I then asked Mike Derks who is one of the guitar players in Gwar to join on bass. Mike, like Brad is another awesome player (the entire GWAR organization is a truly gifted group of people in my opinion). We added singer Dwain Curd for the second incarnation of Koszonom. Dwain was a long time friend who in the early eighties was in the hardcore band Graven Image and later in Sordid Doctrine. Dwain was a wonderful poet and brutal singer. We recorded 3 more songs that were released as a Slave Pit single through Gwar. We played a couple of shows and that was that. I then moved to Eastern Europe. Much of the music around here at the time was approached with the mentality of drawing pictures in the sand. There were no real aspirations other than writing music that would kill you, your band mates and your friends. As a result not many people know of Koszonom. It was a blast and privilege to play with a cast of such great people and players!
On a side note: Before the recent, tragic death of GWAR guitarist Cory Smoot, he had completed a new solo record under the moniker The Cory Smoot Experiment. The record is titled “When Worlds Collide”. All proceeds from the purchase of this release will go to his wife and unborn child. The record will soon be available through Metal Blade and is currently online at CD baby. Support if you can!!!!
Now, Cary and Steve – you both play in Confessor, but you also played together in Fly Machine – a band I thought were very underrated and underexposed. What I want to ask is – what happened with Fly Machine?
Steve: Fly Machine was supposed to be Confessor, A.D. Once we decided not to try and continue as Confessor we opened ourselves up to some different things and played as Fly Machine for a number of years. We were never able to garner any attention and we fell into the trap that a lot of bands find themselves in; we loved playing and writing but we weren’t actually doing anything. Confessor got back together to do one benefit show for Ivan’s widow. The show was magical for me. I had never been in a room with so many people who were genuinely excited about what was getting ready to happen, and from my spot onstage (best seat in the theatre on that particular night) all that I saw was wall to wall smiles. It was and still is unlike anything I’ve ever been a part of! Six months later Confessor was asked to play another show and at that point we decided that we would rather have a lot of fun doing something than a little fun doing nothing, so Fly Machine disbanded and Confessor started writing material for what would become “Unraveled” in just another couple of years.
What happened to Dave Dorsey?
Steve: Dave had been writing a bunch of Queens of the Stone Age-esque and Soundgarden inspired music for his own exploration while he was in Fly Machine. He and Cary have been playing out as Parasite Drag for several years now. Actually, they play out all the damned time! Far more often than Confessor or Fly Machine ever would have. He has gotten better and better, and I think that their band suits them very well. If rock is your thing more so than metal they are definately worth checking out.
Sounds intriguing, is there any chance of the Fly Machine album being reissued?
Steve: Actually there is someone who is reissuing the Fly Machine recordings. Somehow, the Confessor demos and the Fly Machine material are both slated to be re-released very soon. It’s weird how things happen out of the blue, and all at once!
Excellent news! Back to Loincloth now, How was the experience of recording at Desolation Row?
Tannon: Man, it was phenomenal from start to finish. Greg Elkins (the man at the boards) is a King! You never know what someone’s idea of “HEAVY” is until they show you and often what they show you is not really that heavy.
Greg was quickly able to display an infernal understanding of how heavy music should be recorded. He shares the vision that so much metal today sounds too processed. He, like us wanted this record to sound organic, like a band, but also like a fucking Beast. How to establish something sonically pleasing while bludgeoning the listener was the goal. The overall density of low end in this band meeting down tuned guitars can get really tricky in terms of establishing space for each instrument to breathe. He was able to find that space. Most importantly in the drums (what would be the point of this record if you couldn’t hear Steve properly?). It was really impressive to watch him work. It was also a great joy to work with him. He helped keep me in line!!! In my opinion, Greg made a really heavy record with us.
Steve: I had gotten to know Greg a little a few years before Tannon moved down to finish the Loincloth project. I ran into him downtown one night and asked if he might be interested in recording the album with us and he said absolutely! He knew what we were about and he had run sound for Fly Machine a time or two. Knowing that he was not only familiar with the kind of music we played, but a fan of underground heaviness was key for us. Confessor always recorded with people who weren’t well versed in metal beyond whatever may have made it into the radio circuit. Believe me, anything ‘metal’ that was being played nationally in the late 80’s and early 90’s had absolutely nothing to do with what Confessor was about. I think that lack of a connection between producer and band is very evident in both of the Confessor albums. There were differing opinions within the band regarding what made heavy ‘heavy’ which didn’t make things any easier for our producers, but I was determined to record with someone who at least understood and appreciated what underground metal needed to be truly heavy. Greg was a perfect match for us, and his demeanour was such that I knew we would be able to work well in a studio environment together.
Are you pleased with the final result? I mean, hell, you SHOULD be!
Tannon: ABSOLUTELY! I really look forward to working at Desolation Row with Senor Elkins again.
Steve: Actually, this is the only recording I’ve ever been happy with! Greg was willing to take the same kind of time with this recording that we took in writing everything. We didn’t want the album to sound heartless and mechanical like so much heavy music these days. We wanted “Iron Balls of Steel” to sound like instruments being played by people so that it would have the same identity on CD and vinyl that it had in our rehearsal space. We are old enough that the trick of using a seven string guitar to make things heavy is bullshit to us! So much sounds the same now, and subtlety is an art form nearly lost on heavier bands. Personally, I’d rather have one or two mistakes on a record and sound human than to have everything sound “perfect”. I prefer the human element. There are a lot of really heavy bands out there, but I sorely miss the nuances that made them less than perfect.
I, as are most of the doomsters I know, am a total gearhound (you should have seen the folks crowding around Wino’s pedalboard when he played here with Premonition 13 – we were taking notes!), so I feel compelled to ask you about gear – Those of you who really aren’t interested should go and make a cup of tea or coffee whilst the rest of us experience G.A.S. Tannon, what is your set up?
Most of my gear is from the late eighties.
Mesa boogie Quad preamp
Mesa boogie Strategy 500 power amp
Two boogie 4×12 cabs also from the late eighties.
1990 Gibson Flying V with EMG 81
This amp is ultimately wasted on a guy like me. It can do a million things, but I only use one setting. The one that will hopefully some day summon Satan.
If you ask me, that has already happened, about 2 seconds into ‘Underwear Bomb’. Cary, what is your set-up?
My gear is from the late 80’s as well.
Mesa Boogie 400+
Mesa Boogie 2×15 and 2×10 cabs
With Loincloth I play a mid 90’s Ibanez Soundgear bass through a Full Tone Bass-Drive Mosfet
Steve, I think our drumming contingent would also like to know what you hammer seven bells out of?
Steve: I have had the same kit for 25 years. I have a white Tama Superstar kit, though I use an aluminum Pearl snare ( 8″ deep ) with floating lugs. I bought it for parts but liked it so much that I never took it apart! I have a double bass setup that includes 2 24″ bass drums, 10″, 12″, 13″ 14″ mounted toms and a 16″ floor tom. All of my toms and both bass drums have deep shells. I use Remo Pinstripe heads on top, and coated white heads for the bottoms. I use the Remo Powerstroke 3 heads on my bass drums if I can’t find the Pinstripes for them. I tune my drums very, very low., just barely more than finger tight. I tighten the head until I can feel the pressure for about a quarter-turn, then I back it off just a touch. I don’t use the front heads on my bass drums. got tired of spending a ridiculous amount of money just for a head that had a brand name on the front every time we played. They always ripped at the hole where a microphone would be placed. My drums sound like crap unless you hit them pretty hard, and because the shells are so long I have to have the heads pointing just at my forehead. Drummers usually freak out when they sit behind it and honestly, I get a kick out of that!
My cymbals keep multiplying. I use mostly Sabian cymbals, though I do have some Latin Percussion ice bells and some Wuhan china-type cymbals. I prefer Sabian because they are more consistent than other brands. I love the brashness of the Wuhans! Sabian chinas sound too smooth which makes it a little harder to tell the difference between them and a crash. The Wuhans are very affordable and the contrast is precisely what I want out of my chinas. I use a 13″ Sabian hi-hat, a large, upside down ice bell ( like a bowl ), a smaller china and a 16″ Sabian crash on the left side of my kit. I have used a 12″ Sabian Rock Splash right in the center of my kit for years, and it is that particular cymbal that drummers ask about. It stands out because I usually choke it on a snare hit or between notes by itself, so it’s like an audible exclamation point. I also use two little 6″ china splashes on top of each other as an effect cymbal over my right bass drum, and then I finish things out with an 18″ Sabian crash, a 20″ china and a 22″ ride on my right with a smaller ice bell upride down that sits on the ride. Sometimes I’ll have another small splash, and I used to have two chinas on my right side. I didn’t use the second one enough to justify the frustration of trying to make it fit on what was usually a drum riser barely large enough for the basics!
Excuse me while I mop up the collective drool of our gear-nerd contingent (myself included)…
How is your relationship with Southern Lord? Did Greg mercilessly hound you for more after the frankly stunning ‘Church Burntings’ 7″? I mean, I was hoping, y’know?
Tannon: Actually, our relationship with Southern Lord started out of the blue (or should I say OUT OF THE BLACK). Pen and I were at work one day when we got a call from the gents at Southern Lord asking if we would be interested in having them release a 7″ by Loincloth. We knew very little about Southern Lord at the time but said “Hell Yes”. We could tell right off the bat that they were coming from a similar space as us. They seemed to be only interested in putting out whatever the fuck they were passionate about unconcerned with popular opinion. It felt like a extension of the community we were in, people that are always questing to find music that fucks their life up in a great way. We got the single and were thrilled. It felt cared for. At that point that was all we had. We then entered a long state of inertia as a band and heard nothing more from them. A lot of folks (including us) thought that might be it for Loincloth. Fast-forward many years. I’m living in Raleigh, NC working on the Loincloth record. A good friend asks me if I would like to take a road trip to see Sunn O))) with lengendary prog band Faust. This already has me laughing (in a great way). That’s a show I want to see!!
Not exactly knowing what to expect, we arrive at the club and await Sunn’s arrival. Man did they fucking ARRIVE!!! They proceeded to do something so sickly heavy it became hallucinogenic. Their performance and vision was utterly arresting. It was an experience on par with those molecule rearranging shows like the Melvins show I mentioned earlier, seeing Confessor for the first time or VOIVOD on “Killing Technology” (to name a few monumental experiences). Every once in a while you see/hear something that shifts your perspective into the realm of new possibility. It was at that show that I decided I wanted to send Southern Lord our new record to see if they would be interested in putting it out. I love where the label is coming from. I got in touch with Greg and proposed the Loincloth record to him. He had a listen and wrote back with a “let’s fucking do it”. No bullshit and no industry jargon. Such an approach seems to be a rarity within the world of record labels these days. We periodically (strangely) would get an inquiries from metal labels asking us to “put together a packet” and send it to them. Basically soliciting us to solicit them. Fuck that! If you dig it and want to work with us (or anyone) just say so or not. I am truly honored to be a part of Southern Lord. It is a label created by people coming from the underground for the underground. They said “fuck yes” to a band like ours. Loincloth is a polarizing band. Some love it, some hate it. Greg doesn’t care about that. He cares about the music and is willing to put his energy into putting out beautifully designed records that get out there to the people that need to hear them. That quite simply is who I want to be working with. I have a lot of respect for Greg, Stephen O))) and the lasting impact they have created through their music and labels. I am a big fan!!!
In short, we are all really happy with our relationship with Southern Lord!!
Now, I’ve had a li’l chuckle at some of your track titles, am I right in assuming that there’s no deeper meaning there aside from convenient handles to remember the tracks by and a few in-jokes?
Tannon: There is no deeper meaning. We are that shallow and adolescent. Fecal matter and genitalia gets us giggling like school girls.
Steve: Yeah, most of the titles are just silly inside jokes that we came up with while writing everything. “Voden” is a nod to Voivod because we use one of their signature chords all the time. “Clostfroth” is a mini tribute to Celtic Frost. There is a chord at the beginning of the song that sounded like something they would use. Naming the song “Clothfrost” seemed a little obvious so we changed it just enough to sound like it could actually be another language. “Stealing Pictures” is a little shout out to Rush because the beginning of the song feels kind of like them. We have the luxury of not needing to come up with titles that work with lyrics. One of the things that metal does is take its titles way too seriously. “Iron Balls of Steel” is an obvious poke at metal’s pretentious side.
I only ask because I remember reading an interview with, I think Tim Green, of The Fucking Champs and he was expressing dismay as to why songs have to ‘mean’ something, particularly in the case of the Champs and you guys, where the tracks are entirely instrumental anyway. I remember he said something about equating music with sex and wondering if sex should be ‘about’ something too.
Tannon: I think that just about nails it!! As do The Fucking Champs!!!!!
Steve and Cary, I was going to ask what was going on with Confessor, but whilst doing my research for this here interview, I saw that you’re playing the Maryland Deathfest in May. Is this a permanent reactivation? Any more plans?
Steve: We can’t say that it’s a permanent thing. In fact, I doubt very seriously that it could be. The Maryland Deathfest was just too good to pass up. There is some talk of writing another record, but Confessor could not exist with the members that are still around. There just isn’t enough interest. Personally, I’d love to get another record out but not everyone in the band sees “heavy” in the same way. We’ll see what everyone feels like after this show, and the one here in Raleigh the weekend before the Deathfest. There was way too much compromising when we wrote “Unraveled” and in my opinion, the album really suffers from that. The dynamic was very different from what we were accustomed to, and we had personalities working against one another instead of together. It’s my contention that we abandoned what we did best and opted instead to do something that other people could do much better. I’d love to correct that for my own piece of mind, and for fans of the genre who know that Confessor is capable of something much more compelling.
I guess a lot of fans will see that as a shame, but ultimately you have to go with your heart right?
Tannon, how about you – what plans do you have to keep yourself busy away from Loincloth? I’m aware of the Gauchiste record, can you tell us something about that?
Tannon: Yes….Gauchiste is a project that began while I was in Raleigh working on the Loincloth record. I was introduced to a long time friend of Steve’s named Tomas Phillips. I remember Steve saying “You guys are going to love each other”. He was right. Tomas grew up in the hardcore scene in Raleigh. We realized that his band played a show in Richmond with COC 20 years before. I was at the show, but missed his band. Tomas for the last 10 years or so has been working on minimalist, computer based composition . As I got to know him better I realized that not only is he wide-open, but also has a very sophisticated way of viewing music. Along with a whole series of releases that he had done that I absolutely loved, he had also remixed some Confessor recordings and the Loincloth demo that I found both captivating and creepy. He was beginning to re-acquaint himself with the heavier side of music. We decided that we would like to attempt writing a record that focused on the floating, abstract spaces in heavy music. That which hovers around and above. We did live guitar recordings that were then brought back to a computer to be manipulated. Focusing on the computer as an instrument was an interesting awakening for me. A third member Craig Hilton joined adding his extraordinary level of expertise to the project. Craig is one of those guys that is extremely versed musically. His willingness to venture into both the abstract and heavy side of music comes to him very naturally. He is among many things is a flat out fantastic fucking guitar player. It’s just one of his many talents.
Like Loincloth, Gauchiste is an odd beast. It is hard to characterize as even music (debatable depending on what one considers music). There a drum flutters and occasional vocals, but the overall record feels more like a kind of bleak lighting with occasional threads of musical color. The only way I have been able to describe it to people is that it sounds something like a series of horror meditations (which may not say anything at all). Like Loincloth, it doesn’t use conventional methods of song writing as a guide. It may all sound a bit serious (and it was), but the process wasn’t without a lot of laughter.
When I moved back to Richmond the Gauchiste record was in its final stages. I ran into my friend Tracy who runs a wonderful label named Little Black Cloud records. We talked about Gauchiste and she suggested that we get in touch with James Plotkin to master it. We contacted James and he very quickly brought a fantastic shimmer and depth to the overall recording.
Tracy heard it and said let’s put this beast out. She and Little Black cloud records have simply been incredible to work with. We are all super happy with end result. The record comes out as a very limited Vinyl/CD release through Little black Cloud records Jan 17 (same day as the Loincloth record here in the states).
..and we’ll be reviewing it here thanks to the copy that you generously sent me!
Any plans for Loincloth live dates at all? Actually, come to think of it, has Loincloth ever played live?
Steve: That’s a tricky one! Nothing would make me happier, but I just don’t know how we could do it. We’ll never be a touring band unless all of our lives change drastically. Loincloth isn’t the kind of band that can stay on top of things by getting together once every six months and with the three of us living in different states, logistics become an issue. I’d love to freak peopole out live! To me, Loincloth is light years ahead of where Confessor was (an arguable point, I know) and selfishly, I would love the satisfaction of seeing people’s expressions as while we pull it all off live! One thing I have learned is that it only takes a little effort or a little vision to stand out in either music or visual art. Loincloth put in a ton of effort, and our vision was completely unmuddled by differing opinions. Tannon and I were in nearly100% agreement about what we wanted out of each song. There were some very minor differences here and there, but we always felt that we could work together in an honest effort to find the best twists and turns for our music and neither of us feels as though we compromised to get to that point.
Tannon: I, like Steve would shit myself to play this material live!!
…and on THAT dirty bombshell, I would like to thank Tannon, Steve and Cary for submitting to my pedantic questioning and to urge you all to check out ‘Iron Balls Of Steel’ at your earliest convenience and you can also read my review of said album here.
Anything to add boys?
Tannon: We Thank-you Ladies and Gentlemen of the Cloth!!!
I think that says it all. You stay heavy, world.
More info on Loincloth is available over on their Facebook page at:
Interviewed by: Paul Robertson