*photo by April Sol

Hip hop may have been one of the least represented genres at Freakout Fest this year, but the fest still managed to present strong acts of interest within the city’s movement. One in particular proudly reps her White Center locale, and it’s just another detail that adding to what makes Taylar Elizza Beth an artist to be aware of.

Friday was pretty lit at Hattie’s Hat and quite a bit of that was because of Taylar Elizza Beth, also known as Taylar White. She’s played packed houses before, like earlier this year at the Upstream Music Fest, but the mid-20s raptress (that’s rapper and songstress, FYI) is gaining even more warranted attention as her late May EP Fresh Cut Flowers continues to secure its bag, so to speak.

Fresh Cut Flowers takes a different approach to hip-hop than her debut, 2014’s The BLK EP. On it, her flow likens itself more to an old school delivery of loquacity, where with Flowers White is mellow and intimate with her recitation. This is no way takes away from the power and magnetism White emits during her performances, especially at Hattie’s Hat, where she sucked everyone in like a vacuum. 

If you’ve yet to catch her live, follow Taylar Elizza Beth’s Facebook for upcoming shows.

 *photo by Jake Hanson

In all of their experimental, riff-pop glory, Moon Darling recall simpler psychedelic sensibilities, combined with some pretty endearing and crafted synth pop. The foursome is comprised of Michael Julian Escobar on vox/guitar, Michelle Nuño on drums, Matthew Buckner on keys and Jack Jay on bass, and their joint forces create soundscapes that are both classic and innovative.

Though they only played one slot at Freakout Fest, an early evening set at the Conor Byrne, the band have been up to so much more recently. Shortly before the played the fest Moon Darling debuted a new track. "By the Light of the Moon" is coming off of their upcoming January EP of the same name, a followup to their addictive Dreams. 

On "By the Light of the Moon" there’s a point in which each member shines, be it Escobar’s incredible fingerwork or gripping approach to vocals, the stark and necessary breaks of Nuño’s drumming, or the enigmatic keyboarding of Buckner and Jack Jay’s deliberate bass playing. The title track provides perfect insight into the rest of the EP, and they’re having a release show for it on 1.25 at the Fred Wildlife Refuge with Kingdom of the Holy Sun and DJ Right Ternes, so mark your calendars.

There wasn’t much good that came out of 2017 as a year, except for rejoicing in the fact that alt-indie duo Dogheart release two albums. Family Hair hit just as spring turned to summer and now, they’ve shared Beach Farm as fall is setting in. 

Beach Farm is a slight departure from the duo’s other releases. "On this one, we took it back a bit and put a lot of emotion into without thinking about it so much," says Matt Jenkins, one half of Dogheart. "Whatever came naturally was the way it was. The process of this was the most fun we’ve had writing and recording an album. To us, it is the most cohesive sounding album we’ve made and are very proud of that aspect." 

Jenkins shares every aspect of song making duties with Dogheart’s other half Gray Hildreth. With Beach Farm, they went into the recording process without a drummer, so the two took the feat on themselves. The process may have been slightly arduous for the two in the beginning, but everything ended up sounded well. While listening to Beach Farm it’s easy to hear how in tune Jenkins and Hildreth are with each other’s thought processes. It’s a solid, garage pop record that you’ll want to listen to over and over.

"This was a new approach to what Gray and I are doing now," says Jenkins. "A new development in our brains to continue through, even with a little turmoil in the process. Something odd but enlightening."

Listen to Beach Farm in its entirety below.