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Thavius Beck - Dialogue

Thavius Beck Dialogue
Thavius Beck - Dialogue
(CD/Download) Big Dada BDCD151/BDDNL151, 2009-10-12

On Dialogue, his third full-length for Mush Records [and first for Big Dada], Thavius Beck continues to push the boundaries of hip-hop beatmaking, grounding lo-fi digital drum kits in icy layers of synths and sliced up samples. Fresh off of production duties on Saul Williams' Niggy Tardust album with Trent Reznor, Beck's work on Dialogue is razor sharp. This release also finds Thavius spending more time in front of the mic, delivering the type of rhymes that originally gained him notoriety as a member of Global Phlowtations. The consummate iconoclast, Beck cleverly critiques many of America's ills with a dry, satirical wit that never falls into preachiness. With each passing release, Thavius Beck continues to prove that the only musical boundaries he sees are ones he has already left behind. (Source :

Thavius Beck Dialogue
Thavius Beck - Dialogue
(CD/Download) Big Dada BDCD151/BDDNL151, 2009-10-12

Tracklisting :
01. Intro/Cracking The Shell
02. Away
03. Go!
04. Money
05. Violence
06. Burn
07. And The Beat Goes On
08. Painful
09. Hardcore
10. IDC
11. Sheepish
12. Transmission
13. Sometimes
14. Pressure
15. 4 Part 2

Links :

Press Release :
"I'm of the opinion that if you have a platform to say something, don't just say some bullshit. Use that platform to say something worthwhile - it doesn't have to always be ultra conscious or serious, but if every song you make is about bitches, cars, and drugs, you either live a very empty life or you're a huge liar. Either way, I think an MC should be able to draw on their life experiences and translate them into meaningful songs, maybe even grow a bit after reflecting on it during the song writing process." - Thavius Beck

Thavius Beck, like many of Los Angeles' independent MCs, cut his teeth at the Project Blowed open mic workshop in LA's Leimert Park. But even in the 1990s, when Beck was a member of Global Phlowtations (along with Mikah-9, Sach, and a handful of others), and went by the handle Adlib, his sights were fixed on the future of music. His debut release, Vs., showcased his ability to both conjure maximal sonic impact with limited means, and his ability to write intricate rhymes and deliver them with an effortless flow (for a good example, check "The Spot" which features Sach).

Since the late 1990s, however, Beck has focused much more on the production side of his skill set, releasing full-lengths under the monicker Adlib including Save Us, Experience Experiments, and Manipulator, as well as two full-lengths as Thavius Beck on Mush Records, 2004's Decomposition and 2006's Thru.
Beck spent 2007 contributing production work on Saul Williams' Niggy Tardust full-length with Trent Reznor. In 2008, he entered the studio with new LA resident K-The-I???, producing K's entire full-length Yesterday, Today & Tomorrow. The album was licensed by Big Dada, the label that brought you Spank Rock, TTC, Roots Manuva and many more.
Between studio sessions, Beck was taking to the road, traveling Europe and the United States as both artist and DJ. His superb live hip-hop beat construction has earned him much recognition among the electronic music community, eventually leading to sponsorships from M-Audio and Ableton, the creators of ubiquitous beat software, Live. Beck's relationship with Live has grown to the point that his tour stops often include him booking Ableton Live instructional workshops in many of the cities he stops in.

In late 2008, Beck wrapped up recording his latest solo full-length, titled Dialogue. Unlike previous efforts, which have featured appearances from Saul Williams, Cedric Bixler-Zavala (The Mars Volta), Subtitle, and many more, the only voice on Dialogue is Beck's own. Across fifteen tracks, including two instrumentals, Thavius cleverly critiques many of America's ills with a dry, satirical wit that never falls into preachiness. "I think an MC should be able to draw on their life experiences and translate them into meaningful songs, maybe even grow a bit after reflecting on it during the song writing process. The writing and recording of Dialogue was a very therapeutic process for me for those very reasons: I took what I was going through in my life and put it on paper; I released my demons and let them dance over my beats."

Sonically, the album reaches new heights for Beck. Taking months to mix, Dialogue is Beck's biggest sounding album to date. Every track bleeds immediacy with warm bass kicks and aggressive highs that sound something like if the Bomb Squad had called Miami home. On his production influences, Beck notes: "I really like prog-rock, weird jazz/rock fusion hybrids, heavy metal, industrial stuff, etc., but I also like soul and funk, older hip hop, grime, some roots reggae. There was an earlier period when I was really influenced by drum-n-bass, and the more pretentiously named Intelligent Dance Music."
Beck's longtime roots in the Los Angeles underground music do manifest in the graphic design of the album, which was created by Sonny Kay, owner of GSL Records, the legendary label that spawned such acts as the Rapture, !!!, the Mars Volta, The Locust, Out Hud and a host of others. The two first worked together when Thavius was producing for GSL's first and only hip-hop signee, Subtitle - who would team up with Beck as Lab Waste for 2005's Zwarte Achtegrond.

For fans of iconoclastic music of any stripe, Thavius Beck presents Dialogue, and proves that the only musical boundaries he sees are ones he has already left behind.

Info from Thavius Beck MySpace page :
It's official, and it's on... My new solo album titled "Dialogue" is finally complete, and the good gentlemen at Big Dada have licensed my record from Mush. So what does that mean? It means that all of my European people will get a lovely Big Dada logo on their CD, but more importantly it means that there will be much more press, more awareness, more distribution, more radio play, and more reason for me to tour my ass off and promote the hell out of this thing... it's times like this that I'm happy I never stopped making music... can you imagine me all straight-laced, sans facial piercings and uncombed 'fro, with a clean cut face, doing some shitty administrative work in a cubicle? I'd be suicidal again, and that ain't cute at all... hahaha!!!

So a little info about the new album...

This is the first album I've done in over ten years where I'm rapping on every song (if you have "VS." or "Tune In" then you're one of like ten people who have heard me do that before... and you're also the ultimate G of underground music consumption... I have a shiny gold star for you somewhere)...

I produced nearly every song (with a track produced by fellow Labwaster and all around globe trotter Giovanni Marks aka Subtitle bka Berlin Baller, and another by the wildest man in France and the biggest pimp in Egypt known as Debmaster)...

Sonny Kay (the man who was behind the now defunct label GSL, one of the most influential independent rock labels ever, which released records from groups like The Locust, !!!, Jaga Jazzist, the aforementioned homie Subtitle, and most notably The Mars Volta) did the graphic design for the album, and he did a phenomenal job in my humble opinion (can you say something is phenomenal in a humble way? "That shit is the fucking best shit ever, in my humble opinion..." it works for me)...

And believe it or not, it took more than a year for this album to get to the point where it was ready to turn in, although it only took a month or so to record everything... I think you can hear the time that was put in to it... this is easily the best sounding record I've made, and I think the best thing I've done to date... hopefully once you get to hear it you'll share my enthusiasm.

The release date will be in early October, and I will be planning a few tours in different regions of the world to promote this bad boy (as opposed to promoting for Bad Boy). Check back for updates, etc. For now, I will leave you with the cover...


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