Following the release of newest Big Dada signee Speech Debelle’s “Speech Therapy”, Michael Krasser caught up with the rapper as she broke down her sound and the new challenges ahead, like the interest garnered from iTunes single of the week.

Where does the name come from?

Well I went through a few, you know as a “Rapper” you have to have a cool name. Speech just sought of stuck and Debelle is a family surname. Well it’s pronounced ‘De-ball’ but hey bouquet, bucket!

How did you start your musical career?

Well when I was young my voice was so annoying, it was probably up two pitches above what it is now, it could shatter glass, honest. Teachers would always tell me: “your voice is too loud, I can hear you above everyone in the class” which is ironic because that’s what people listen to now.

I got my first break rapping with a crew called First Love, my first rap crew. In the studio till 7 in the morning, the producer would start chopping up a sample, programming some drums and three of us would start writing our verses. I’ve also tried singing but I was designed to be a rapper! I think raps a lot more fun, whatever language you use you can swim in it and play with it.

You have a unique style, what would you say were your influences?

My main influences at the time were Lil Kim’s “Hardcore” album, DMX, Tupac, Nas, The Fugees. DMX is a real emotive rapper, he raps about pain and suffering but also within his lyrics is an inner strength. Same with Tupac. Hopefully that comes across with me. Nas is who I studied in regards to telling a vivid story, his stuff was so visual almost like a movie.

I’m also into old school Reggae like Barrington Levy, Beres Hammond.

It wasn’t until I heard Rodney P’s “Riddim Killa” that my eyes were truly opened. He would say things that I would hear growing up, things my mum would say, real old school. I never heard that in a Hip Hop song before, it always seemed so far away, like I couldn’t relate to it but he did it so well. He even threw his own little swagger on it and flow.

How did you hook up with Wayne Lotek for beats?

He lives in Australia and when he came over to renew his passport we met. He went over to my house with his laptop, playing about on Reason programming up some drums and a loop for a track called “Searching”. When he went back we got people in the studio to replay it.

No samples or synths?

That was definitely a conscious decision. I co-produced and co-wrote a couple of the songs. I wanted to play with live instruments. I’m really into string sections. I wanted the album to sound like a movie. The label also weren’t complaining, which is a good thing. It’s really about the emotion you get out of a real player as opposed to a midi instrument. It’s also a way of getting people who wouldn’t otherwise listen to it give it a chance.

You have Roots Manuva on the album. Also Michachu, That’s a big look?

I feel certified now! He really brought the track alive. He took everything I said in the verse and just encapsulated it in a big chorus, which when working with someone like that you can’t ask for anything more. We were also looking for someone who sung in a British accent and Michachu fitted the bill, she provided a wicked chorus on “Better Days”.

Your music deals with personal struggle and seems very cathartic. How do you deal with everyone knowing your business?

Journalists seem to think it’s my job to speak on behalf of anyone who’s black, anyone’s who’s female and anyone who’s young and I’m not. We are not all the same. One interview I did with the Guardian, the guy recorded it with a Dictaphone and he’d taken lots of things I’d said and rearranged it, completely changing its meaning.

I didn’t write the songs with a deal in mind, it wasn’t a reality so it was just for my own state of mind. When it came to the point of having a song together it just felt natural. It wasn’t until “Daddy’s Little Girl”, (a track Speech openly chastises an absent womanising father figure) after my brothers and sisters hear the song, it’s like now we might have an issue. It wasn’t a vocal reaction and maybe we don’t need to go into that here but at least I have a better understanding, or overstanding.

My family also come from Jamaica, my mum was brought up here and my dad is from Accompong Town, a Jamaican maroon colony. Jamaica has a history of struggle. The slaves sent to Jamaica were the most rebellious, that’s why they were sent there. It just goes to show how resilient people can be under dire circumstances, like the whole idea of Patois, the creation of a language, so slaves couldn’t be understood by their slavemasters, the ability to keep going and create shows some real determination. I don’t like calling us children of slaves, rather children of survivors.

iTunes single of the Week! How will you deal with your new found stardom? Any pressure?

I think how I’m gonna deal with money is a bigger question (laughs). If I get some, stardom or money, I think I’ll just try and be as smart as possible, make some clever investments. I don’t know about stardom it seems to be a lot on peoples minds. I don’t think being a star seems like a good role to be honest.

Whats next?

Secret Garden! Bestival! Glastonbury! Gigs! As for future music I’ll just be happy when I can get a physical copy of this record in my hand and then we can take it from there. I’ve been working on this album for a long time so maybe a holiday.

Words: Michael Krasser

Image: Photographer Samuel Hicks, Make-up Melissa Evans, Stylist  Sarah Nashy