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.
When asked about the process of creatinig the LP Thavius stated, "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". He continued, "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.
01. Intro/Cracking The Shell
07. And The Beat Goes On
15. 4 Part 2