Thavius Beck’s story started in Minneapolis and led him to California, into the Golden age of Los Angeles’ underground Hip-Hop culture through legendary venues like The Good Life, Project Blowed and Low End Theory. Emerging as a respected producer, emcee and electronic music performer, Thavius continued to walk the road laid out for him by his creativity, following it to Brooklyn and a new role as a teacher, now professor at the prestigious Berklee NYC campus. In honor of the release of his latest album, Untitled: Volume 1, we spoke with Thavius about his journey through music, the similarities between electronic composition and time travel, and the beauties of creating when there’s nothing left to prove.

Once upon a time, Hip-Hop was a many layered thing. It had its gangstas and its Ruff Ryders, conscious Afrikans and poets, choppers and crooners, its Bad Boys and its empowered women. From sampled R&B beats to jazz quartets, the wide world and deep history of Black music could be heard behind nearly every verse. There seemed to be room for every style and every story, and love stories were no exception. But eras pass, and for a time it seemed like R&B powered reflections on the soft sides and hard truths of relationships were part of the genre’s past. Then came Ace Clark.

Maya Angelou once said, “I respect myself and insist upon it from everybody. And because I do it, I then respect everybody, too.” On her third album, Eve, Rapsody pays respect to Black women while demanding her own.