If you feel lured by some mysterious wailing over the next couple of weeks, be warned. Like the shadowy, mythic figure of its namesake, Ypsilanti-based stoner-metal duo Bubak are skilled in deception, masking sinister riffs and morbid tales within hook-filled earworms from which you may never escape.

"Bubak is from Czech folklore: pretty much their version of a Boogeyman," said drummer Justin O'Neill by email. This "scarecrow-looking creature, whose face is usually obscured by its hat," hides out by riverbanks and makes sounds like a baby crying, which lures unsuspecting victims to it. "Bubak then kills them, weaves their souls into garments, rides around in a cart pulled by black cats ... y'know, like a Bubak does."

Also featuring Jeff West on bass and vocals, the band is effectively the rhythm section of defunct psychedelic-metal band Zen Banditos, which split up when guitarist Andy Furda left town.

Bubak released its debut EP late last year online. CDs are now available, too, and the duo still plan to press it on vinyl. Like its fantastic comic-horror cover art by Tony Fero, the EP's four songs are as fun as they are menacing, heavy on fuzzed-out chromatic bass runs, swaggering shuffle beats, and West's awesome growl.

We traded emails with O'Neill and West in advance of their Thursday, June 1, show as part of FuzzFest 4 at the Blind Pig.

Fiction about the Midwest, much like the region itself, often suffers from incorrect assumptions by outsiders and a dated external -- and internal -- monologue.

In The New Midwest: A Guide to Contemporary Fiction of the Great Lakes, Great Plains, and Rust Belt, author Mark Athitakis challenges those assumptions, and he points to authors whose work pushes against common regional tropes. He also sets the record straight about the Midwest itself, which boasts its own brand of cultural, racial, and political diversity, for better or for worse.

We spoke with Athitakis -- who will give a reading at the downtown branch of AADL on Friday, June 2 -- about his book and his own perspectives on the Midwest and its writing.

The Session Room on Jackson Road was in a festive mood May 9.

The front of the restaurant/beer hall was taken over by what appeared to customers like a troupe of English music hall performers.

In truth, they were actors from the Ann Arbor Civic Theatre trying out their jokes, songs, patter, and various English accents in preparation for their upcoming presentation of Rupert Holmes’ musical The Mystery of Edwin Drood, June 1-4, at the Lydia Mendelssohn Theatre.

The show's director, Ron Baumanis, said the setting was perfect for getting his cast in the mood.

“Here we have this show with great musical numbers that can be lifted right out and done as an evening of entertainment,” he said. “Sessions is a beer hall and essentially music halls started out as beer halls then moved into theaters. But instead of seats, people sat at tables with their tankards of beer and did business or whatever they wanted to do.”

We live in a hyper-literate age of endless imagery and short attention spans.

We seldom pause -- and really, when do we have time? -- to consider the process by which we create meaning for ourselves from the constant interaction of words and pictures in books, magazines, on television and the web, on our phones.

In Text/Image now on view until June 3 in Ann Arbor Art Center’s Gallery 117, Detroit-based artist/curator Jack O. Summers has thoughtfully collected for our consideration some artworks that refer to everyday objects whose meanings “are enhanced or subverted by the multi-dimensional interplay of text and images.” The exhibit concentrates on still imagery, leaving aside the more kinetic treatments of text and image interaction such as video and animation.

14-year-old Ginny Moon * * * is much like any typical teenager, never mind that she is autistic. She loves Michael Jackson, plays the flute at school, looks forward to her weekly basketball practices, and has good friends in Room 5 where the kids with special needs spend parts of the school day. For the past 4 years, she lives happily with her "forever parents" after unfortunate placements in a string of foster homes.

The art of motion is currently on display in the University of Michigan Museum of Art’s spirited Moving Images: Performance.

The second of UMMA's three presentations drawn from Istanbul, Turkey's Borusan Contemporary museum, Moving Images: Performance illustrates the subtle (and sometimes not-so-subtle) relationship of performance and moving-image media that’s been fostered by the advent of the portable video camera.

The exhibit complements the concurrent UMMA installation Rafael Lozano-Hemmer: Wavefunction, Subsculpture 9, which is a subject we’ll get to in a forthcoming review. But for the time being, the four short videos in this exhibit stand as prime examples of experimental filmmaking.

From the author of the acclaimed Can't Find My Way Home comes the gripping story of the rise of early drug culture in America.

With an intricate storyline that unites engaging characters and themes and reads like a novel, Bop Apocalypse details the rise of early drug culture in America by weaving together the disparate elements that formed this new and revolutionary segment of the American social fabric.

Drawing upon his rich decades of writing experience, master storyteller Martin Torgoff connects the birth of jazz in New Orleans, the first drug laws, Louis Armstrong, Mezz Mezzrow, Harry Anslinger and the Federal Bureau of Narcotics, swing, Lester Young, Billie Holiday, the Savoy Ballroom, Reefer Madness, Charlie Parker, the birth of bebop, the rise of the Beat Generation, and the coming of heroin to Harlem. Aficionados of jazz, the Beats, counterculture, and drug history will all find much to enjoy here, with a cast of characters that includes vivid and memorable depictions of Billie Holiday, Miles Davis, John Coltrane, Jackie McLean, Allen Ginsberg, William S. Burroughs, Jack Kerouac, Herbert Huncke, Terry Southern, and countless others.

Two debuts that join the heated national conversations about deportation of illegal immigrants; the global concerns for refugees fleeing war-torn countries; and issues of identity and alienation that would likely affect generations to come.

The 2016 winner of the PEN/Bellwether Prize for Fiction and a May 2017 LibraryReads pick, The Leavers * * by Lisa Ko is based on true stories. It "depicts the heart- and spirit-breaking difficulties faced by illegal immigrants with meticulous specificity." (Kirkus Reviews)

On Friday, May 19, the Kickshaw Theatre is collaborating with the Ann Arbor District Library to put on a staged reading of Lungs, a new play by Duncan Macmillan. Lungs tells the story of a couple weighing the pros and cons of deciding whether or not to have a child in modern America, knowing all the current societal and political problems in the world.

Lungs premiered at Washington, D.C.’s Studio Theatre and has since been performed around the world. It was nominated for a Charles MacArthur Award for Best New Play or Musical and the British production won the Off West End Award for Best New Play. This reading will feature the actors Dani Cochrane and Bryan Lark.

Recently, I was fortunate enough to ask the Kickshaw Theatre’s artistic director and founder Lynn Lammers a couple of questions about the upcoming performance.

“This is a book that will get under your skin and stick with you,” said Aunt Agatha’s co-owner Robin Agnew of Lori Rader-Day’s psychological thriller The Day I Died. “It’s a book that shows multiple sides of the story, not in terms of black and white but shades of gray.”

On Thursday, May 18, at 7 pm, Rader-Day joins Aunt Agatha’s monthly book club to discuss her novel. The author is the recipient of the 2016 Mary Higgins Clark Award and the 2015 Anthony Award for Best First Novel. The Day I Died tells the story of Anna Winger, a handwriting expert who is called into an investigation of a missing toddler. Anna has tried to keep her secrets hidden in the past as she moves along in life with her teenaged son. But everything comes spilling out when her son disappears and she is forced to confront painful memories from a past from which she is still trying to hide.