Speech Therapy

ヒップホップを軸に、フォーク、ソウル、ジャズ、ブルースなどからの影響を取り入れたオリジナリティ溢れるヴォーカルに、生楽器による優しいアコースティック演奏が絶妙に絡み合う。ソウルフルに時にエモーショナルに響き渡る歌声、叙情的でオーガニックなサウンド、そして力強い意志が漲る、どこまでも深く豊かな詩的世界観は、聴く者の心を打ち、様々な感情を呼び起こす！初期のフージーズのローリン・ヒルやモニー・ラブを彷彿とさせるようなスピーチの軽やか歌声と極上の癒しのグルーヴが展開され、聴いているうちにジンワリと心に染み入ります。
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This album was about five years in the making -- that's how much time elapsed between the young Speech Debelle's first visit to London's Big Dada label and studio (home of underground hip-hop legend Roots Manuva) , where she quickly recorded the outline of "Searching," and the eventual release of Speech Therapy, which was largely recorded in Australia at the temporary studio of producer Wayne Lotek. It's interesting to consider how different the album would sound if it had been recorded in London rather than Melbourne; as it is, Speech Therapy is one of the most unique hip-hop albums you're likely to hear. There don't seem to be any samples or turntablism. Instead, the grooves are supplied mostly by acoustic instruments, and many of them are lightly, skitteringly jazzy -- notice in particular the soft, jazz-inflected accompaniment that adds an entirely new dimension to Debelle's nervous and unsettled rapping on "Searching" and "Better Days," and notice also the subtle but elegantly complex rhythmic displacements in the lyric to "The Key." On "Bad Boy," sweet strings and jungly drums push nicely against each other, and on the kiss-off rap "Go Then, Bye" a lushly beautiful acoustic guitar and small string ensemble accompany a startlingly angry and unsettled rap. There are, inevitably, a couple of clunkers: Debelle's flow is awkward on "Working Weak," and "Finish This Album" is a bit too literally self-referential. But those are minor missteps compared to the great strengths of this very fine debut. ~ Rick Anderson

ニンジャ・チューン系列のUKヒップホップ・レーベル＝ビッグ・ダダより話題の新鋭フィメールMCがついにアルバム・デビュー。アコギやピアノなどのフォーキーなテイストとブラシ・ドラムなどを使ったオフビートなプロダクションをバックに、彼女の柔らかな声は語りかけるようなラップと歌を自在に操る。緩やかなアコースティック・グルーヴが横溢した、独特の心地良い音世界に癒されること必至です!!
bounce (C)卯之田吉晴