Back To Bizznizz - Lethal Bizzle - USE THIS VERSION NEW INFO

Despite this, it was a public conversation with David Cameron that finally convinced him he had a voice. "I don't really see myself as a super-meagastar," he says. "I still feel how I felt in school, I'm still just that normal guy." Many people listening to his records already knew he had a voice, but with the might of the Tory spin machine trying to make nice and treating him with respect, it was hard for anyone to ignore. Cameron's desire to protect his image required a conversation with the most prominent person in the grime community, and Bizzle was the man they picked.

Featured in the press with his defence for grime, Bizzle was placed at the forefront of the British media stage. Having confronted the would-be king of the commons, it seems fitting that he thinks what the UK needs now is strong leaders: "We need more. Too many kids are just following, following the guy who wants to copy some bad guy," he explains, putting one in mind of Tony Blair following Bush to war, or Cameron aping the older kid Blair. When he suggests "I should start my own party," it doesn't sound too bad an idea.

Putting aside the politics and the press for a moment - it's not really what Bizzle does, after all – his album, Back To Bizness, is a bit of a departure. It feels like he's reaching out and expanding the genre he lives in: Babyshambles feature on the disc, backing Boy along with producer Static. It's a vibe Bizzle appreciates, having played NME and wowed indie kids across the nation with his up-jumping sets. He liked the response from his time on the NME tour, especially the mosh pits. Bizzle thinks the grime and indie scenes working together is "inevitable" - to him they share an energy and a common purpose that means "when we get to the studio we can relate; It's a different sound, but we're doing the same thing."

Bizzle is decidedly into the 'grindie' sound and vibe. "I'm not feeling the name, but the music is spot on," he says. For him the collaboration started because he's "trying to do things that haven't been done before... to be an artist, and try do different things." He reckons those who diversify are "the people that have the long careers and mean something in this world." Artistic integrity and commercial viability meet in Bizzle's gameplan, and the combination is what gives us the dose of grime on the new LP; a dose spiked with rock. There is also a collaboration with singer Kate Nash on the album, so it's not all indie boys and guitars. When he needed a singer to replace a vocal that was originally Bizzle's, a mutual appreciation made her the perfect choice. The result sees Nash making Look What You've Done, shine. Bizzle wanted to steer away from rnb and garage singers, and the names his label suggested (names like Beth Orton) were not what he was after.

It's not just through collaboration that Bizzle has stretched himself. The track Selfridges Girl Not on Myspace isn't straight grime, for example. More reminiscent of the disco-rock and electro revivalism that pervades these days, it stands out as one of the best beats on the album, and one likely to make its way into a variety of sets. The confidence to try something is indicative of a deeper belief; "you've got to believe in yourself. You have to be your own label, your own PR. It's not enough just to be an artist." When asked if he'd run for Mayor of London, Bizzle says "that'd be alright. I could handle that." If the campaign is based on this album, we'd vote for him.