*ON LIMITED ICE-BLUE VINYL!!! Planning for Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It's Closeness, It's Easy is the long-awaited follow-up to 2017's Below The House. If Below The House was about returning home, following in the footsteps of one's father and joining a union, and leaving behind youth's wild days, It's Closeness, It's Easy embraces what comes next-the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one-the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.

At it's core, It's Closeness, It's Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that's been dealt and searching for meaning in what remains. It speaks to loss-the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions-less an act of construction, more an unveiling of something already waiting to take shape.

Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning for Burial project himself-recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning for Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.