Bury based MC Britizen Kane drops his debut project with the ‘Orson Welles’ EP; Kane was previously known as Bigfoot, with a couple of mixtape releases and high profile collaborations under his belt. He’s also earned a longstanding co-sign from legendary UK rapper Sway, having appeared on tracks alongside the ‘This Is My Demo’ spitter, as well as being part of his Dcypha label. This is a seven-track project, which showcases the North West artist’s savage pen game and charismatic style.
The EP gets underway with ‘Till There’s Nothing Left’, and it serves as a rebirth, or a reintroduction, which is something Kane references himself. If you never clocked any of his releases as Bigfoot, the gaps are filled in on this opening cut. The Dcypha MC spits “Every pad I’ve ever dragged my pen across has then been classed as a weapon of mass destruction in these deadly desert sands”; his multisyllabic rhyme schemes, introspective content and consistently passionate delivery make for a truly entertaining, encapsulating listen. With a raw strain to his voice backed by hard-hitting production, Kane sounds confident and powerful as he spits with intensity, switching up his flows with a percussive high-syllable count.
‘Goldmine’ is a resounding, anthemic track; with crisp drums and spacious layered synthesizers backs solid verses from Britizen Kane. He mixes personal perspectives with punchlines and wordplay with ease. The beat-switch up and rapid fire MCing at the start of the second verse is really dope, and it’s clear from the Bury spitter’s writing that he puts every ounce of heart into every single bar. You can hear it in the content and in his voice, which is often a rare thing for MC’s to display so effortlessly.
‘Listening To Jadakiss’ is a straight up banger. Kane manages to sound suited to, and more importantly sound good over, more “American sounding” production while maintaining authenticity. With a rapper-name scheme in the second verse demonstrating his quality pen game, and a quality hook to boot, this is one of the standouts on the ‘Orson Welles’ EP. Tracks like this are stronger than some of the others on the project; cuts like ‘You In I’ or ‘Make It Out Alive’ are a little too emotional for my taste, not that I can criticise the honesty or the insight into his head that Kane put down on the microphone, I just prefer the more hard hitting tunes on here.
This is definitely worth checking out; Kane’s flow is consistently tight, and his subject matter is personal and emotional at times, and raw and energetic at others. With a cool selection of beats that create an eclectic feel as the project plays through, diversity is definitely something he has on his side. If you’re a hip-hop fan there’ll definitely be something you can take away from this EP, so give it a listen already.
By Sam Bennett