Interview with Chris Clavin of Plan-It-X Records

Sorry Chris - took this from facebook

I got into Plan-It-X records a few years back. My friend Billy gave me a big list of folk punk bands that I should check out that included some early Pat the Bunny bands, Operation: Chris Clavin, Ghost Mice, Defiance, Ohio, and Rosa. I really liked what I heard because it was unpretentious and focused on honest lyrics. The first song that I really took to was "Whiskey is My Kind of Lullaby" by Johnny Hobo and the Freight Trains. From there I started listening to any folk punk I could get my hands on. That's when Plan-It-X was having a blow out sale and I think for $20 I got two DVDs and 10 CDs, which was awesome. 

Those were the CDs that I had in my car at all times. I got my first Bananas record then, as well as a Rosa record and a Wingnut Dishwasher's record. There was a ton of variety in instrumentation and songwriting, which was something I valued. It was basically because of these records that I decided that I could actually write songs and got into DIY, an ethos I still believe in and support.

Plan-It-X has been around for a while and is based in Bloomington, IN where Chris Clavin, its owner, creator, god lives. He also has been in a ton of really great bands that seem to always be playing somewhere. It's amazing that this guy can do so much.

He recently put out a really great split 12" with Ramshackle Glory that was funded by Kickstarter. It's a really incredible record called Shelter that focuses on the idea of where a person can find shelter or a home. In a DIY punk community where punk squats and house shows are pretty much the lifeforce of a the music scene it's an important topic that has a lot of interesting stories. His band Ghost Mice continues to perform and make great music.

He recently also put out a book called Free Pizza for Life, a book about the creation of Plan-It-X and his experiences. His website can be found HERE. You should buy his stuff. It's always cheap, but expensive in quality (that's a phrase, right?)

I e-mailed him to see if he'd get hip to an interview and this is what he said.

Jordan: How did you get into punk rock?

Chris Clavin: What's punk rock. Just kidding. It was by accident. I started a band and we couldn't really play music, so people said we were pop punk. They I found out about the DIY touring network and I've never looked back.

J: Have you always lived in Indiana? What is the music scene like there?

CC: I've lived here most of my life. I moved to Olympia in 2006 and then to Gainesville in 2007 then to Cairo Illinois in 2009 to try and create a punk rock utopian community (cairo is a ghost town). I moved back to Bloomington in 2011. Bloomington has a great music scene. Lot's of styles. Lot's of different scenes here. 

J: When did you start first playing music? Did you grow up with it?

CC: I started when I was 19, I guess. I wish I had started sooner. I grew up with 80s music and heavy metal and my moms old 60s singles. 

J: What all bands have you been in? Which ones do you currently play in?

CC: Green Tea, The Ted Dancin' Machine, Lost August, Drowner, Operation: Cliff Clavin, The Trolls, The Coug, Pink Ass Flowers, Dude Looks Like A Lady, The Sissies, I like japanese hardcore, The Devil Is Electric, The Dragonflies, Ghost Mice, Captain Chaos, The Jammy Dodgers, Tooth Soup, Inky Skulls, Imperial Can, By Blood. --- Current bands: Ghost Mice, Tooth Soup, By Blood, Inky Skulls, Captain Chaos. 

J: Lyrics seem to be a big part of your music. Which lyricists, poets, or writers inspire you? What topics do you typically cover?

CC: Bad Religion, Fifteen, Bob Dylan, The Cure, The Smiths, The Mountain Goats, Kurt Vonnegut. 

J: How did you decide to start a label? When did you start Plan-It-X records? Did you start it alone? 

CC: This info is all on the PIX FAQ... Its too boring to talk about again... I started a label as a joke, to release my own band, with my friend Samantha! ...

J: What were some of the first releases that you did?

CC: Operation: Cliff Clavin, Against Me, This Bike Is A Pipe Bomb, The Bananas. 

J: How did you get the name Plan-It-X?

CC: Sam was taken by aliens to a moon of mars from her years of 10-15. The aliens called it planet X. 

J: How was it using Kickstarter to get funding for the Ramshackle Glory 1st album repress and the split that Ghost Mice did with them? Do you feel like it's a sustainable model for new releases?

CC: Yeah, I guess. It's dark times for record labels. We do whatever we can to survive, but it's starting to feel weird to me. I think I'm gonna quit soon. I don't want to beg people to buy music. 

J: DIY is a big part of your ethos. What do you think the role of DIY has or should have on music? What do you think of people or artists who don't adhere to DIY?

CC: I love the DIY scene. I love seeing great bands playing in houses. To me it makes the music so much more real. I hate stages and rock lights and backstage rooms where the bands can hide before and after they play. I love the DIY scene because the bands and the "fans" are totally equal. I also like non-DIY bands. I just don't like the bands that use the DIY scene as a stepping stone to the next level of music. 

J: Do you do any other sorts of art other than music?

CC: I draw and make comics. I paint sometimes. I do art for records for other bands sometimes...

J: How was it writing "Free Pizza for Life?"

CC: Easy. I wrote it in a few months. You can tell by the mistakes... I just wrote down all the stories that I bore my friends with all the time. 

J: You've been touring around a lot and so I'm sure have eaten at a bunch of different places. What is the best Pizza you've ever had?

CC: That's a hard question. I guess I'll have to say it was in Rome, by the train station. It was so good I didn't even notice it was vegan. 

J: What all have you been listening to lately?

CC: Bad Religion and Amanda Palmer. 

J: What all is in the future for Chris Clavin?

CC: I have no clue. 

J: Anything else you'd like to say?

CC: Quit your job, become an environmental terrorist. 

Interview with the Taxpayers

I had heard of the Taxpayers through a wild story about a band in the Northwest that lived in a storage space to record an album. I heard that they would lock themselves in and had to have someone else let them out. I don't even want to think about the smells of the place - that alone gives me the willies.

Then the Taxpayers were featured in Razorcake as the cover story in issue # 73, an impressive feat by all means. After reading the story, I picked up a copy of their seminal album God Forgive These Bastards: Songs from the Forgotten Life of Henry Turner and A Rhythm in the Cages. I was put off at first by a band that could wield such a dynamic selection of instruments from the trumpet to the accordion to handfuls of spaghetti, but simply could not stop listening. God Forgive These Bastards has since become one of my all-time favorite albums. I have spent a godforsaken amount of time obsessing over it, magnetized by the lyrics and the accompanying novella (called God Forgive These Bastards: Stories from the Forgotten Life of Georgia Tech Pitcher Henry Turner.) I'm really excited to have them featured on my blog.

Self-confessed "Goof-Punks," The Taxpayers are a band that combines many subgenres of punk rock and folk music while also showing a reverence for all things blues and jazz. It's almost overwhelming how much is going on in their songs and it's a testament to the gargantuan ideas the band is wrestling with as they craft songs. But if you see them play, they really are quite goofy. There's definitely no such thing as dumbing-down their music, but the band is really into making people happy at a show.

They recently toured the United States with Anarcho-Folk-Punk band Ramshackle Glory (and ended up playing the final show at Chicago's Swerp Mansion), which is one of the all-time best touring partners in my opinion. Their sets are a blaze of frenzied fun and awesomeness.

I'm totally honored to be able to post this interview and I think that you should listen to everything that they have recorded.

You can check them out on FACEBOOK, buy their stuff at USELESS RECORDS, take a look at their own WEBSITE or check out their albums on Spotify.

Jordan: Who all is in the Taxpayers? How did you guys meet? When did you guys decide to form a band?

Rob Taxpayer: The Taxpayers are me (Rob), Noah, Danielle, Phil, Kevin, Andrew, Alex, and occasionally Eric.  Our friend Nate used to play bass, but doesn't anymore.  We met in lots of different ways.  Me and Noah met because we both explicitly wanted to start a band that sounded like the Minutemen.  Then we slowly gathered others as time went on - Danielle was a friend that we talked into learning an instrument, we met Kevin when he moved in next door and stopped by to play trumpet while we were practicing, we met Phil on a stolen row boat on the Columbia river where he falsely told us that he owned a bass, Andrew joined after we saw him all over the country on various tours, we met Eric when he was on tour with a band from Minneapolis, and Alex came up to us pretty early on in the band and volunteered to play saxophone.

J: You all live in different states now - how do you guys practice/write new music/tour?

RT: Well, we don't practice, for one.  We just meet up somewhere on the planet to start a tour, and then part ways when it's over.  As for new music, I'll usually write the skeletal frames of songs - the lyrics, basic structure - and then email them to everyone else.  Then we'll get together at some point in the year, see what works, add to the songs, break 'em apart, and see what sticks.  For this last album, Cold Hearted Town, we did it all (including recording) over a two week period around Christmas when we could all be in the same place.

J: What is the process for writing a song? It seems like you guys have a pretty wide variety of music from more punk-oriented songs to ballads.

RT: It's different for every song.  Sometimes a phrase will come out of the blue and the song will be built around that phrase.  Sometimes I'll write a little story and then force the story into a song format.  Sometimes a melody will linger around for years until it finally fits somewhere.  Then, once I've captured the idea, everybody else will take a shot at the song - Kevin might say, "Oh, we should speed that one part up to 4/4, drop out the guitar, and bring in this saxophone melody", or Andrew will play a super cool guitar part that makes us decide to play the song country-style.  But like I said, the process is a little different for each song.

J: I think you guys are a band that can write not only a great tune, but lyrically weave a story better than a lot of people. Where does the inspiration for these stories or lyrical style come from?

RT: I've always liked bizarre, abstract fiction, and a lot of those elements wind up in songs.  I also really enjoy songs that tell stories that seem to encompass much more than the two or three minutes it takes to listen to the song - there's a ton of examples, but the line from Bruce Springsteen's "Promised Land" - "On a rattlesnake speedway in the Utah desert, I picked up my money and headed back into town...".  And then he never comes back to that!  What money was he picking up?  What kind of deal went down in that desert?  It's so mysterious, it's fun to think about, and I think really good songwriters will have a whole story figured out in their minds for each little line like that, even if the entire story doesn't fit in the context of the song.   

J: I've been listening to "God Forgive These Bastards" a lot and I read the accompanying book. Where did this come from? How did you guys write and record the album?

RT: When it comes to specific things, like the Henry Turner character from "God, Forgive These Bastards", the inspiration for him came from a bunch of places - first, there was a guy I used to always see under the Broadway Bridge whenever I'd go fishing, and him and me would drink beer together while I fished and he'd tell me these fantastic stories - some of which became inspiration for Henry Turner's life.  Other aspects of Henry's life came from real events I discovered after researching things about Georgia, where I decided Henry should be from.  Some of it was just purely invented.  It's fun, making things up!

J: How about Cold-Hearted Town, your newest release?

RT: For Cold Hearted Town, I was going through a period where nothing I wrote seemed like it was very good.  I had some different concepts, tried writing a comic book that the songs would be based on, but none of it really clicked.  So I decided to do the thing that Robert Johnson did and made a deal with the devil.  The devil gave me this really fucked up story about a terrible nightmarish town where horrible things happen.  I have some different ideas about why they happen in the town of Blackridge, but I'm afraid to say publicly...

J: How do you guys record? Do you have your own set of equipment?

RT: We have friends record us.  We'll usually pay them a little money (way less than they deserve) in exchange for a demand of their constant attention and flexibility until we're pretty happy with what's recorded.  Then, we'll have a few central places where the recording happens, garages, houses, etc, and some extra field places like parks and busy streets.  Our friend Michael Miew Love did the Exhilarating News, A Rhythm in the Cages, and a good portion of God, Forgive...  Eric Frame did To Risk So Much for One Damn Meal.  Our friend Trevor Oats did Cold Hearted Town.  They all do amazing jobs.

J: How do you guys promote a DIY ethos? What do you all think the role of DIY should be in music? Is there a correct way to make and do music in your opinion?

RT: DIY is increasingly becoming the only way, due to technological changes in the way the world works and the slow dismantling of the traditional music industry.  Which is a good thing.  There are still idiots who will pay a manager 60% to sell their product to all the indie outlets, but those idiots don't get rich and famous like they used to.  The difference today is that you can tell pretty quickly who's in it for the riches and the fame, and who'd be doing it in a dark hole with an audience of stray cats just because it's a part of who they are...but is there a correct way to do music?  Nah.  There are jerks that make good music and extremely ethical people that make terrible music (see: the folk punk scene), but it's up to the listener to decide who they're gonna pick, how, and why.

J: You guys just recently toured with Ramshackle Glory. How did that go? Were there any highlights on the tour?

RT: It was good!  They are great people.  One of the odd things about their band is that they've reached celebrity status in a scene that has traditionally been anti-celebrity, and I know it drives them crazy.  Hats off to them for handling it in such a poised and graceful manner.

J: What do you guys usually do in the car between stops?

RT: Listen to books on tape.  Check in to see what pop-country radio is churning out.  Occasionally bicker about insignificant things.  You know - typical family vacation stuff.

J: Did you guys have any standout meals or haunts while touring? Any places that you guys seek out?

RT: We always stop at Pismo Beach in California.  There is a good clothing dumpster behind a church in a Laramie, Wyoming.  We found a really cool arcade in Nashville this last tour that has all the machines hooked up to free play!  As for meals, there used to be a place in San Diego that had one dollar subs that were pretty okay.  I think they might have shut down, though.

J: Are there any bands or records that have stood out to you guys so far this year? Even stuff that maybe you heard for the first time this year.

RT: To be honest, I haven't listened to much music lately.  Tour can be music-overload, so it's nice to take a break from it for a little while at home.  But there is a cool band from Providence, Rhode Island called Downtown Boys that I heard this last tour!

J: What all is in the future for the Taxpayers? Anything you guys have laid out?

RT: I don't know.  Probably nothing for a while.  I think everyone is feeling sort of burnt out after being so busy the past few years.  We will probably take a break for a while and then record another album.  Maybe we'll take a loooong break.  Maybe not.  Who knows?

J: Anything else you'd like to say?

RT: Hey weirdos of the world: be nicer to each other!  We're all we've got!

Pat the Bunny and Nick from Ramshackle Glory talk their new album and Plan-It-X!

The Gang in Action!

So what's the deal with Ramshackle Glory and Pat the Bunny?  Ramshackle Glory is an amazing folk-punk band that came out of the American Southwest following lead song-writer "Pat the Bunny's" successful rehabilitation with heroin and alcohol.  The first album "Live the Dream" is an ode to his past as well as an outlook on what will make him a successful human being, in the sense of staying alive.  The band incorporates a lot of really amazing arrangements that are significantly different than Pat's old bands "Johnny Hobo & the Freight Trains" and "Wingnut Dishwashers Union."  There are more instruments, simply put, as well as a more refined recording style.  There are more members of the band and a very clearly unified outlook, which is actually very level-headed and inspiring in the age of a time where Madonna can get away with having a superbowl slogan be "WORLD PEACE."

Pat and the gang also run Savage Wasteland, a music collective out of the Southwest that puts out music and distributes anarchist literature.  These guys are smart too, which, once again, is inspiring and a breath of fresh air.

Pat is a long time friend of Chris Clavin, the guy who runs Plan-It-X.  He actually knocked some sense into me because I had thought that the record label closed down about 5 months ago.  Even last week, their website was different, but now they are up and running (and by that I mean online because I'm a totally unpunk cyborg so my definition of running lies in the ability to use technology [JOKES, FRIENDS, JOKES]).  Pat, in his response, gives a hyperlink to the website down below, so you can see it there.

"Live the Dream" is one of my all-time favorite albums.  The lyrics are very clear and remarkably human.  The songs are fantastic.  In short, you should buy it.  Like seriously.  You can do so here: http://www.ramshackleglory.com/ (< hyperlink, you dweebs!)  In addition, Chris Clavin has recently started a movement to get their first LP pressed on vinyl, a dream I've had even before I was born.  I think I was about 21 at the time.  But needless to say, you should get the album.  I think you can get it digitally or on casette, since they're out of CD's now.

The second album is coming out this year and they are about to play a BUNCH of shows across the continental U.S.

I'm flattered that you came here to only hear my speak.  I have handsome words.  But without further ado...PAT AND NICK FROM RAMSHACKLE GLORY!

Jordan: How did Savage Wasteland get started?

Nick: Most of the people in our band have musical projects outside of
our band.  Having a music collective through which to release all the
different music that all of us make is really fun and allows us to
share the responsibilities involved in putting out albums, while
remaining DIY.

Jordan: Who gets to put out music on the label?

Nick: Anyone in Ramshackle Glory, probably other people too.

Pat: We distribute a Michael Jordan Touchdown Pass release. He's not
in Ramshackle Glory, but he is my brother. The answer so far is that
you can put out music on the label if you are (1) In Ramshackle Glory
or (2) A blood relative of a Ramshackle Glory member.

Jordan: How fundamental are anarchist views to the organization?

Nick: We are a collective, so there is no hierarchy.  Nobody is the
boss, everyone does what they want/can.

Pat: The collective operates according to anarchist principles as much
as possible, as Nick mentioned. Our collective is also anarchist in
the sense that we distribute free anarchist literature at the shows we
play, contribute financially to legal support funds and and other
projects related to anarchist organizing, and use our collective web
presence to spread the word about anarchist ideas and actions. We
specifically focus on spreading the word about stuff happening in
Arizona and Tucson, because that is the local radical community we are
part of.

All of this extends naturally from the individuals in our band. We are
all anarchists, and politically engaged in ways that we consider much
more important than our punk band.

Jordan:  What kinds of things do you read/look at in order to be politically engaged or relevant?

Pat: The answer to that question is changing all the time. Recently
I've been reading some of the analysis that came out of the November
2, 2011 General Strike in Oakland, specifically exploring what a
"strike" is in a contemporary capitalist economy and which social
classes are the subject of a strike in this context. The basic
argument outlined is that, because so few of us in the United States
are employed in the production of commodities through factory
production, the contemporary strike will not take the form of
voluntary withdrawal of labor from that process. Instead, the strike
takes the form of disrupting the flow and distribution of capital.
This is achieved mainly through blockading the routes by which
commodities are distributed (shutting down ports, roads, rails) and
sabotage directed at any stage of commodity production or the
circulation of investment capital (smashing banks, looting stores,
etc).

Given this change in the form of the strike, it no longer makes sense
to look at "the working class" as the legitimate or primary subject of
the strike, because voluntary labor withdrawal is only one small part
of what a strike is today. An expanded definition of the
proletariat--all those with nothing to sell in the market economy to
maintain survival except their own skin and labor--is the current
subject of the strike. In addition to wage-workers, many social
elements that Marx would have dismissed as "lumpen-proletariat" are
now at the fore-front of proletarian struggle: the unemployed, the
homeless, petty criminals, etc.

This is not to say that workers are no longer involved in the strike.
Clearly they are, but proletarians who are currently trapped outside
the process of commodity production are no longer mere appendages to a
movement organized by those proletarians trapped inside that process.
The truth of this statement is hinted at in the 2011 Oakland General
Strike, which was called for and pulled off by an Occupy Oakland
encampment composed disproportionately of the homeless and unemployed,
not the industrial proletarians of traditional Marxist theory.

If you're interested in this stuff I recommend checking out
http://www.bayofrage.com/from-the-bay/blockading-the-port-is-only-the-first-of-many-last-resorts/.
That piece discusses the themes I just touched on with much more
context, nuance, etc. I like interesting analysis that proposes
concrete ways of looking at the struggle and suggests some of the
methods through which that struggle might be carried out. Such
material is depressingly rare from what I see making the rounds of
anarchist news sites and such, but it's still out there if you are
looking for it.

Jordan: How did you all know each other/decide to start a band

Nick: Some of us met in VT, some of us met in New Jersey, some of us
met here [in Tucson].  We ended up recording this album together, then
we decided to be a band.

Jordan: What does the name "Ramshackle Glory" come from?

Nick: We put a bunch of words in a hat and pulled them out and put
them together in different ways.

Jordan: I'm familiar with Pat the Bunny's old bands/projects "Johnny Hobo" & "Wingnut Dishwashers Union," but did the rest of the band play in other bands before?

Nick: We have all been involved in various bands in the past; some of
them still exist, and we put them out. Luke and Douglas are in a
really awesome punk band called Not Sorry. Savage Wasteland is putting
out their next album. Douglas, Luke and I had a band called Devil's
Coachwhip when we started Ramshackle Glory, which kinda dissolved and
is now just the name of my solo project.  Luke just started a new band
called Cottontail, which has a new album coming out soon too.

Jordan: The first album came out after Pat completed rehab and seemed to me to deal  with the highest points of redemption and terrible lows in personal history and society, what kinds of events inspired this?

Pat: It's mostly about getting wasted all the time and shooting
heroin, and what it took for me to stop. Much of it revolves around
the experience of wanting to stop, but not being able to. There is
some exploration of the guilt surrounding things I did while using and
drinking. Other parts are related to a fundamental change in the way I
experience life, to the extent that I no longer need to--or want
to--get loaded. Some of it is about how anarchism and punk integrate
into the principles which guide my recovery from addiction.

Jordan: How does the tone of the second album differ from the first in terms of both  lyrics and musical arrangement?

Pat: This album is much heavier, lyrically and musically. It's
probably more explicitly political, more of the time.

Nick: In terms of musical arrangement, I think this album is way more
exciting.  Recording the last album was pretty much the first thing we
did together as a band, whereas now we have been playing together for
over a year.  We've gotten a lot better at making up cool parts that
sound good together and just playing together in general.

Jordan: Are there any new people playing on the album?

Nick: Yes! Dane is playing bass and Eric is playing Trumpet. It is
really awesome having them in our band!

Jordan: Do you all have any plans to tour outside of the Southwest?

Nick: We are going on a 2 and a half month tour this summer. We will
be playing most places in the continental U.S.

Jordan: What is the craziest show you all have played?

Pat: Lots of the shows we play seem crazy to me, because of the way
people treat us. Our band is not a very big deal: we have a modest fan
base that appreciates the music we make, and we are lucky enough to
have that kind of support lots of places around the country and world.
That's a big deal to us, in the sense that we are lucky to be able to
do what we want to do, on something close to our own terms (at least
so far as anything can be in a capitalist, sexist, racist society
governed by the state).

But a lot of times people interact with us as if our band was a big
deal in a different sense--a sense that makes me uncomfortable. They
want to get autographs and take pictures with us. I don't understand.
We're a punk band. We aren't very cool. We aren't famous. If more than
100 people are at a show we are playing, that's a big show to us.

Many times people treat us like we are cooler than them. I don't like
this, especially because I don't know how to undermine it. As an
anarchist, I cannot passively accept anyone being socially
more-or-less powerful than somebody else. I belong to certain social
groups that are, as a whole, given social power denied to other social
groups—for example, as a man I am granted forms of social power denied
to women—and that's quite enough material for a lifetime of
deconstructing, and trying to subvert, the ways I reinforce various
systems of social hierarchy and authority.

But the way that our band is often treated by people at shows is one
of my only experiences being granted specific social power--as an
individual, and not just as one among a privileged social group. I
suppose I would compare it to finding out you have been elected to a
political office, even though you never ran for it and consistently
declared your opposition to political power.

Some people at shows treat our band in a way that assigns me a social
power that I do not want, but don't know how to destroy. If we don't
give autographs, we make people feel bad—which also reinforces the
nature of hierarchy, namely that those higher up within it are
disproportionately able to inflict suffering and violence on those
lower down. If we give autographs, we perpetuate the idea that we are
people who are worth getting autographs from—as opposed to everyone
else at the show, who presumably was not worth getting an autograph
from.

I am not aware of a graceful solution to this problem, and
encountering it so consistently at shows makes me feel crazy.

Jordan: What are some of your top albums of 2011?

Pat: I wouldn't know. I've mostly been listening to podcasts about the economy.

Jordan:  Has anyone specifically inspired you during both this upcoming album or in the creation of Ramshackle Glory?

Pat: Not really. From my perspective of things, the core members of
Ramshackle Glory were the house mates of Nick, the only punk I
happened to know when I moved to Tucson. I asked him to play on a
record I wanted to make. Nick got his house-mate Douglas to play
banjo, so that Nick could play accordion. Luke came home from work
while we were practicing and offered to play drums. That's where our
band comes from.

All of these people turned out to be some of the most incredible
musicians and human beings that I've ever met, but that was just how
it happened, not the result of any inspiration or planning. The
instrumentation is also more a product of what instruments the people
in our band play, or want to learn how to play, rather than any
conscious decisions.

Jordan: What's the deal with Plan-It-X?  I know Plan-It-X fest is still happening  and you all will be there, but I was surprised that they won't be releasing music really.

Pat: It would be surprising if Plan-It-X wasn't releasing music, but
that's simply not true. There never has been a significant period of
time where PIX didn't release anything, although Chris has talked
off-and-on about stopping the label in the last couple years. The new
Ghost Mice record just came out on Plan-It-X about a month ago. Chris
(the guy most responsible for running Plan-It-X during most of its
operation since 1994) is getting money together to release Ramshackle
Glory vinyl on Plan-It-X by the summer.

He's not going to press CDs anymore, because not many people buy CDs
from Plan-It-X anymore, but releases on tape, vinyl, and digital
formats will continue. (Anyone interested in Plan-It-X should check
out the revamped website at http://www.plan-it-x.com).

Jordan: Thanks again, y'all!  I'll see you for sure at Plan-It-X fest this summer,  but good luck with the album!

Pat: Thanks, see you then!