VAZUM didn’t expect a Western film to inspire the title of its latest album.

The Jackson duo of Zach Pliska (vocals, guitars, drums) and Emily Sturm (vocals, bass) stumbled upon the phrase “Western violence” while watching The Quick and the Dead.

“We had some of the songs fleshed out and usually we go with a ‘V’ in the name for our albums. We were watching [the 1995 film] by Sam Raimi and the rating was ‘R,’ and it said two words: ‘Western violence,’” said Sturm about the duo’s doomgaze album, Western Violence.

“We said, ‘Oh my god, that’s what we’re writing about,’ and it just summed it up. And then we said, ‘That’s what we’re living in … This is how our society expresses itself now.’”

On Western Violence, VAZUM reflects on the disintegration and disillusionment of our country and provides a social commentary on the personal, cultural, and political events that impact it.

Friday Five highlights music by Washtenaw County-associated artists and labels.

This edition features jazz by the Alex Anest Organ Trio, sadcore by Hubbard Lake Baking Club, dark ambient by Paper Petals, jungle by Duburban, and live jams by Stormy Chromer.

It’s a bittersweet time in Brad Phillips’ life.

“My daughter Alyson is off to the University of North Carolina School of the Arts next month, and I’ve been weeping big dad tears on and off all summer,” said the Dexter singer-songwriter and multi-instrumentalist.

Alyson is a singer, and she’ll join her dad for a special show at The Ark on August 8 along with bandmates Chris DuPont, Drew De Four, Brennan Andes, Keith Billik, and Mike Shea.

Brad has also been busy as a lecturer at the University of Michigan, a resident artist at The Purple Rose Theatre Company, touring with actress and singer Patti LuPone, and featuring on her new album, A Life in Notes, playing violin, mandolin, guitar, octave mandolin, and U-bass.

“Patti is an icon and it’s no accident. She’s a legend for a reason and to be on stage with her in front of her adoring fans is electric,” Phillips said. “Summer has been both chaotic, emotional, and wonderful all at the same time! It’s been a big year around here.”

To learn more, I spoke with Phillips about his work and tour with Patti LuPone and his family’s artistic accomplishments.

Friday Five highlights music by Washtenaw County-associated artists and labels.

This edition features hip-hop from two MC Kadence-associated groups—Patience With Creatures and Barefoot Sneaker Slaves—as well as electronica by Misotear and Northbad, goth-folk by Dollie Rot, and solo piano jazz by Marc Hannaford.

After encountering heartbreak and grief, Moonwreckers understands the importance of feeling seen and validated.

The Metro Detroit-Ann Arbor quartet of Matt Galbraith (vocals, guitar), Matt Konkle (drums), Paul Stiem (guitar), and Jamus Sumner (bass, vocals) explores that emotional need and its evolution on the album, Why Look Here?.

“It certainly is autobiographical. At the time, I was married, and we were having issues, and we did eventually divorce. A lot of these songs were written around the time when I was in my early 30s, so shit hit the fan between us and we had been together since we were 18 years old,” said Galbraith about the band’s indie-rock-meets-emo debut release.

“I didn’t know what a world looked like without that, so I was very lost, and it was scary to me what life looked like outside of that relationship. There’s some coming-of-age stuff in there, too, but a lot of it has to do with that relationship, the struggles and the attempts of trying to reconcile things, and then failing and rinse and repeat."

Moonwreckers examines that trajectory across 12 personal tracks on Why Look Here?. The album’s honest lyrics, plaintive vocals, and evocative instrumentation prompt listeners to process their emotions and struggles alongside the band.

Friday Five highlights music by Washtenaw County-associated artists and labels.

On the opening track of The Stellars' second album, singer Erez Levin sings, "I wish you didn't live so far away," which is the theme of this Friday Five. All the acts in this edition spent formative years in Ann Arbor before moving on, including polished indie-rockers The Stellars, soul-pop crooner Jacob Sigman, avant-gardist "Blue" Gene Tyranny, experimental pianist Kelly Moran, and sound sculptor Grant Johnson.

The Ann Arbor-Plymouth indie-rock band Studio Lounge takes a significant step forward on its second full-length album, Staring at the Sun. 

The record showcases the offbeat sense of humor, eclectic influences, and first-rate musicianship heard on Studio Lounge’s 2022 debut, Amateur Hour. But the 18 original tracks on Staring at the Sun also hang together better as a fully realized album, with new depth to the band's songwriting and more polished recordings from the group's home studio.

“Join Us” is a perfect way to lead off the album; less than a minute long, it includes echoes of ’60s/’70s garage rock psychedelia as it invites listeners on this album’s journey. “Day With You” is sweet and wistful, while “Constipation Station (Exit Strategy)” is an all-too-relatable reaction to a lousy job. And while some songs display an underlying seriousness, the band sometimes goes all-in on pure silliness, such as the pirate tale “Arrgh!” or “Dimo’s,” a brief ode to the beloved Ann Arbor deli and donut shop. 

Studio Lounge consists of Ryan Hasani, lead guitar, synths, vocals, and production; Constantin Balan, rhythm guitar, accordion, lap steel, and vocals; Dani Balan, bass and vocals; and Max Wilkinson, drums and vocals. The band plans to busk all summer at the Ann Arbor Farmers Market and Eastern Market in Detroit and posts all its upcoming concert dates on Instagram.

The band members recently answered a few questions about the new album via email:

I remember the moment I fell in love with hip-hop.

It was 1985, and my older brother had rented VHS copies of the films Breakin’ and Breakin’ 2: Electric Boogaloo from our local video store.

Seeing the breakdancing prowess of Kelly, Ozone, and Turbo in the films instantly captured my attention and spurred nine-year-old me to experiment with some moves of my own.

While I couldn’t quite emulate the popping, up-rocking, down-rocking, or power moves of the films’ heroes, I embraced a love of dancing and developed my own quirky style over the years.

As I grew up, I danced to the music of Run-D.M.C., Beastie Boys, Salt-N-Pepa, LL Cool J, DJ Jazzy Jeff & the Fresh Prince, Rob Base & DJ E-Z Rock, Young MC, MC Hammer, and others.

By high school, I had started learning about three of the five elements of hip-hop—rapping, DJing, and breakdancing—and would encounter the other two—graffiti and historical knowledge—as an adult.

Today, these five elements provide the foundation for a hip-hop history exhibit curated by the University of Michigan’s Department of Afroamerican and African Studies and on display at Haven Hall’s GalleryDAAS through September 4.

Known as Hip Hop @ 50: Defs, Dates, Divas, Detroit & Dilla, the exhibit celebrates the 50th anniversary of the culture and explores its evolution across music, society, fashion, language, entertainment, and politics.

Friday Five highlights music by Washtenaw County-associated artists and labels.

This edition features indie-gaze by Harper, jazz fusion by The Missing Cats, pop-punk by Premium Rat, trumpet jazz by the Charlie Porter Quintet, and electronica by ness lake.

You’d be hard-pressed to think of a more fun, entertaining way to support Ukraine than to see Odesa-based, klezmer /“gangster folk” band Kommuna Lux play at Saline’s Stony Lake Brewing Co. as part of the monthly Acoustic Routes concerts series on July 27.

“Sometimes opportunities just fall into your lap,” said concert series founder Jim Cain, noting the band reached out to him about performing.

“In the 10-plus years I’ve been doing this series in Saline, word has gotten around about us across the country and internationally. We’ve had bands from Northern Ireland, Canada, England, Scotland—the music community’s so tight, especially bands who tour a lot, that we can punch above our weight class. Yes, the venue’s a brewery, but there’s a listening-room vibe, and one hundred percent of the ticket proceeds go to the artists.”

That last point is often a big selling point for Acoustic Routes, since, as Cain notes, by the time touring bands pay for hotels, gas, and food, there’s often little money left.

But in the case of Kommuna Lux—a group of seven classically trained musicians who blend vocals with clarinet, accordion, trumpet, trombone, acoustic guitar, and percussion—its current U.S. tour is primarily aimed at raising funds for its war-torn home country.

“The needs of the people [in Ukraine], the scale of it, is hard for us to really comprehend,” said Cain. “One of the things that’s fascinating to me is the diaspora. Here in Michigan, I’ve had Ukrainian people reach out, and the Jewish community as well, offering to help spread the word about the show.”