With its shrill electric guitars and driving beats, champeta is reminiscent of West-African soukous or rumba congolaise. In fact, the Caribbean power sound can be considered a direct Colombian offspring of Congolese Afropop from the seventies. The music’s epicenter is the region surrounding Cartagena de Indias and the Afro-Colombian community of San Basilio de Palenque. In small shops or at flea markets, one can still find a lot of old soukous vinyls that came to Cartagena directly from West Africa in the sixties and seventies. In the nineties, champeta was already considered by some a near-extinct style of music, replaced by the party sound reggaeton in Colombia and ignored worldwide. However, with the wave of “nuevas musicas colombianas” which began in the late nineties, more and more young musicians are beginning to experiment with the champeta style on top of Caribbean cumbia grooves and marimba sounds from the Pacific region. The power combo La Makina del Karibe is one of the first and few champeta bands from the capital of Colombia. It has managed to further develop the style into a champeta urbana, making it accessible to an entirely new and different audience: the Cachacos, as the inhabitants of Bogotá are referred to in Colombia. The “Makinas” give a crazy show: Men come onto stage in mini-skirts, while energetic power women jump around the stage, captivating the audience with wild dance performances. This mixture of the Caribbean, punk rock and urban burlesque makes La Makina del Karibe unique. In the remix versions, new club styles such as moombathon, baile funk, techno and electro-secousse are combined with the Afro-Caribbean champeta rhythms. This is what makes Kosmik Chankleta an innovative and special album.