Dirty Dike
Return Of The Twat

With great notoriety for his reworks across SoundCloud, London native, K, Le Maestro has forged an undeniable signature sound for himself. Mixing old school with new, K has really set himself up to becoming a great in the next few years. His knack for sampling records and programming knocking drums, this is nothing new for K, Le Maestro. At only 22 years old, he has come a long way from making beats for himself in his bedroom to having his edits widespread across the internet and garnering popularity in the outside world among DJs and music heads alike.Inspired by greats such as J Dilla, Madlib, Black Milk and more, K is on pace to becoming a legendary producer in his own right. With cosigns from respected Hip-Hop figures to respected labels such as Soulection.As of 2019, K has been gearing up to release his debut album via Jakarta Records. This LP is on pace to defining K, Le Maestro's sound outside of doing edits and reworks as well as showcasing his versatlity as a producer as well as his taste as an artist.K, Le Maestro is truly a maestro of his art; fusing between different genres while maintaining the signature knock that his instrumentals provide. From his roots in Hip-Hop to expanding to genres such as R&B and even funk/dance, K has a fine tuned ear for beats and rhythms that will get your body moving and elevate your mood.

The quiet, prolific producer collaborated with everyone from Erykah Badu to Common to Janet Jackson to Prince. Dilla was just beginning to capitalize on his cult status when he sadly passed at age 32 due to Lupus-related complications. Jay Stay Paid is a 25 track collection of unreleased Dilla beats mixed and arranged by Pete Rock.While mostly instrumental, "J$P" also offers a few guests vocals from artists that Dilla worked with or admired including Black Thought of The Roots, MF DOOM, M.O.P., Blu and more. J$P is overseen by Maureen Yancey (aka Ma Dukes) along with the musical supervision of Dilla's only real musical idol, Pete Rock..."This album combines what he did in the beginning of his career, what he did in some of our early hospital stays, which was very deep, and some stuff pulled from old disks & DATs. Its mind blowing...this is like the missing links to Dilla's legacy."

boomkat: ...Lyrically taking aim at Arts Council/Trust-funded lightweights, capitalist realism, and the precarious insecurity of working class life, and set to a mix of rugged, lo-fi breaks, visceral electronics and textured field recordings, the record draws listeners perhaps uncomfortably close into Mike’s street-level worldview.Across 11 songs he grasps the pissy nettle of modern life on a low wage, oppressed by massive, unanswerable corporations and forced to work around a Tory logic that’s at Victorian levels of patronisation and disregard for social welfare - made all the more acute by the fact he hails from within hollering distance of the original slums and overcrowded housing that influenced Marx and Engels’ philosophy. He’s the articulate inheritor of generations of proud, necessary social resistance, the latest vessel for a spirit that runs from the Peterloo Massacre to Emeline Pankhurst, Mike Leigh and John Cooper Clarke.Most distinctively, purposefully enunciated in Mike’s vowel-stressing Manc accent, the lyrics observe a perpetually gloomy state of affairs with the same poetically rhyming meter, unflinching honesty and conviction that makes his live performances so transfixing. Opening with the rising rage of ‘Bleak Northern Roads’ where he zooms out from street-dealing scenes and increasing food prices, to the politics of whit hall, his voice steady but seething, Sam Weaver’s knackered breaks and atonal, slimy electronics bitterly underline the sentiment, using samples of archaic Monarchistic announcements to punctuate the fury leading into cranky highlights such as the hardcore ’89 style UK hip hop of ‘Breakneck Pace’ and ‘Cultural Capital’ - think The Criminal Minds before they went fast - while he excels at a form of modern folk reality in the narration and inclement, skeletal sonic scenery of ‘Modern Industry’, and the pranged dancehall noise torque and warning barbs of ‘Citizen 107’.