Cumbia Digital and other noisy remixes!&#13;
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First it was tango which underwent the digital treatment of DJs, musicians and producers. Impelled by Gotan Project and Bajofondo it moved from the “milongas” and other local clubs to concerts hall, night clubs, festivals, etc. and soon nu-tango was rubbing shoulders with pop and techno without inhibitions. Following on this worldwide wave of electro revival (extremely popular in South America) it is now the turn of another great Latin-American rhythm known as cumbia to go under the knife of these music surgeons specialists in resuscitating old cracking vynils. The style is sweet, sensual and frenzied. But having been used and abused to such an extend, it was on the verge of disappearing by lack of creativity and a certain overkill. Luckily, in the 2000s, a new generation of artists got hold of the genre and, re branding it "nu-cumbia", "digital cumbia" or "electro-cumbia", gave it a new dimension. It became more elegant and sophisticated without ever losing its dancing properties.

In August 2009 Силвестре Херрера, DJ/producer from Comodoro Rivadavia (Argentina), posted an mp3 on the Facebook of his friend Federico from the band “The Peronist”. The song was called "Coomvee-ah!" and was still unfinished. He did not know at that time but The Binary Cumbia Orchestra had just been born. Taking inspiration from Colombian cumbia, mambo and electro, it sounds both modern and retro with its samples which seem to come straight from the 50s. The vibe is both graceful and stylish but still grasps the popular and rather kitsch essence of the genre.
Toni Polo, Groovalizacion Radio&#13;
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Metal Blade Records history by Dan Slessor:
Founded upon owner Brian Slagel's enduring drive to find great bands and get their music out to as many people as possible, since 1982 Metal Blade has brought wave after wave of powerful, innovative, and often genre-defining music to the ever-hungry metal masses. It is this ethos that has seen Metal Blade build up a stunning and diverse catalogue, weather the various storms facing any independent label, and in an age of declining record sales boast the most successful years of its existence as it strides into its fourth decade.

What perhaps makes this achievement all the more notable is the fact that Slagel never even intended to start a label. Working in an LA record store and writing for various publications, Slagel was acutely aware that many great bands in the local metal scene were being ignored, and he decided to release a compilation of tracks drawn from these ranks. "There were a lot of really good bands and I was just bummed out that nobody could hear them. It just seemed like I could help them out and have some fun at the same time, and that compilation was the first Metal Massacre," he states. Collating tracks from then unknown bands including Ratt, Bitch, Cirith Ungol, and Metallica amongst others, the compilation sold out immediately. "How important is Metal Blade to our career? They're only the reason we are enjoying the worldwide success we have today," states Metallica's James Hetfield. "Without Brian's openness to some raunchy teens with a crap sounding cassette tape we would be who knows where, and playing who knows what!" With the popularity of the tape spurring Slagel on, the first seeds of Metal Blade were sown. "After the success of those compilations I just started putting out records of bands that I was friends with, but without ever really intending it to be a label at all," he explains. "After I put out four or five releases I started to feel like something was happening, and I decided to quit the record store and quit college and see where it went."

Battling through the first few lean years, when the label consisted solely of Slagel working out of his mom's poorly ventilated garage in the San Fernando Valley, it gradually grew in both revenue and stature. Within a few years Metal Blade would go on to release the debuts of Slayer, Armored Saint, Trouble, and Corrosion Of Conformity amongst others, fanning the flames of the burgeoning metal scene and launching careers of bands that would go onto reap global success. "Without Metal Blade, there is a damn good chance we never would've made it out of L.A," says Slayer's Kerry King. "That was the one bit of luck we needed. You can be the most awesome band on the scene, and if no one notices you, you don't catch on. And Brian Slagel is still one of the biggest metalheads I know!" This genuine love and devotion to metal is central to the relationship many of the artists have with Metal Blade, and King Diamond credits much of its relevance and strength to this passion. "I refer to it as having 'boots on the ground'," the mighty Dane states. "It's not like a major label where some people might be into what you're doing but a lot of them just see it as a job – there's a genuine love for metal there. Through staying true to that and doing their own thing they've carved out a very specific niche that they control, and as an artist it's wonderful to be a part of that."over the years. Clearly without those people we couldn't do what we do, and to everyone out there who has helped us along by being a fan we are so very grateful to you."

Read more: http://www.metalblade.com/us/about-us/

Essential listening for anyone who cares about what they read – and how they read it. The Stack is Monocle’s take on the world of print, focusing on everything from the glossiest fashion title to the grittiest newspaper. 

Monocle 24 is Monocle’s round-the-clock radio station that launched in October 2011 and is broadcast from our headquarters at Midori House in Marylebone. You can listen live via our player at monocle.com, as well as downloading shows from our site, iTunes or SoundCloud; we also have a handy app. 

The station delivers news and comment, plus magazine shows covering a range of topics including food and drink, urbanism, design, culture, business and print media. Our newsgathering operation includes bureaux in Tokyo, Hong Kong, Zürich, New York and Toronto, as well as dedicated correspondents in over 30 cities from São Paulo to Sydney.


George Winston grew up mainly in Montana, and also spent his later formative years in Mississippi and Florida. During this time, his favorite music was instrumental rock and instrumental R&B, including Floyd Cramer, the Ventures, Booker T & The MG’s, Jimmy Smith, and many more. Inspired by R&B, jazz, Blues and rock (especially the Doors), George began playing organ in 1967. In 1971 he switched to the acoustic piano after hearing recordings from the 1920s and the 1930s by the legendary stride pianists Thomas “Fats” Waller and the late Teddy Wilson. In addition to working on stride piano, he also at this time came up with his own style of melodic instrumental music on solo piano, called folk piano. 

Since 1972 George has released thirteen solo piano albums: AUTUMN (1980), WINTER INTO SPRING (1982), DECEMBER (1982), SUMMER (1991), FOREST (1994), LINUS & LUCY-THE MUSIC OF VINCE GUARALDI (1996), PLAINS (1999), which was inspired by his Eastern Montana upbringing, NIGHT DIVIDES THE DAY - THE MUSIC OF THE DOORS (2002), MONTANA-A LOVE STORY (2004) and GULF COAST BLUES & IMPRESSIONS-A HURRICANE RELIEF BENEFIT (2006). His most recent recording are LOVE WILL COME - THE MUSIC OF VINCE GUARALDI VOL 2 (2010), and GULF COAST BLUES & IMPRESSIONS 2-A LOUISIANA WETLANDS BENEFIT (2012).
In 2001 George released REMEMBRANCE - A MEMORIAL BENEFIT, a seven song EP of piano, guitar and harmonica solos, to benefit those affected by 9/11.  He has also worked with the late George Levenson of Informed Democracy (www.informeddemocracy.com) on three projects: a solo guitar soundtrack for SADAKO AND THE THOUSAND PAPER CRANES, and soundtracks of piano, guitar and, harmonica solos for PUMPKIN CIRCLE, and BREAD COMES TO LIFE. In addition, he has recorded the solo piano soundtrack for the children’s story THE VELVETEEN RABBIT for Rabbit Ears Productions. 	

George is presently concentrating mainly on live performances, and most of the time he is touring playing solo piano concerts (the Summer Show or the Winter Show), solo guitar concerts, solo harmonica concerts, and solo piano dances (with R&B and slow dance songs). 

He is currently most inspired by the great New Orleans R&B pianists Henry Butler, James Booker, Professor Longhair, Dr. John, and Jon Cleary, and he is also working on interpreting pieces on solo piano by his favorite composers, including Vince Guaraldi, Professor Longhair, and the Doors, as well as Sam Cooke, Dr. John, Allen Toussaint, Randy Newman, Curtis Mayfield, Laura Nyro, Al Kooper, Jimmy Wisner, Arthur Lee, Frank Zappa, Ralph Towner, Rahsaan Roland Kirk, John Coltrane, Milt Jackson, John Hartford, Oliver Schroer, Taj Mahal, Henry Butler, James Booker, Jon Cleary, Philip Aaberg and others, to play at concerts, and at his solo piano dances.

George is also working on solo guitar and is recording the masters of the Hawaiian Slack Key guitar for an extensive series of albums for Dancing Cat Records (www.dancingcat.com). Slack Key is the name for the beautiful solo fingerstyle guitar tradition, unique to Hawaii, which began in the early 1800s and predated the steel guitar by over half a century. 

He is also recording his main inspirations for his harmonica playing: Sam Hinton, Rick Epping, and Curt Bouterse.

Piano: George Winston plays Steinway Pianos
Guitar: Martin D -35 (1966), with low 7th string added
Harmonica: Hohner Big Rivers & Cross Harps, key of low D


BUY DATURA ALBUM: http://asifeh.bandcamp.com
BEATMAKING VIDEO: https://youtu.be/i06i-kii7dI
IRADEH EP - FREE DOWNLOAD: http://bit.ly/1wBZ82T
LAFFEH EP - FREE DOWNLOAD: http://bit.ly/1P0w0fZ

MC/Producer from Palestine. Co-Founder of the Ramallah Underground collective. 

SoundClouder of the Day (April 9th 2013)
Booking: stormtrap@gmail.com

Join Pete Donaldson on Absolute Radio, weeknights from 8pm. He'll be bringing you loads of great music and comedy guests, plus his album of the week and live sessions. He doesn't always get chance to play the full interview on-air (because he muffs up) but here's your chance to hear the interviews in all of their unedited glory.

Tommy Boy Entertainment is a legendary Hip Hop & Electronic label founded in NYC in 1981. The label is credited with launching the careers of notable Hip Hop legends Afrika Bambaataa, Coolio, Queen Latifah, House of Pain, De La Soul, and Naughty By Nature. 

In the late 80's Tommy Boy introduced EDM to mainstream audiences with releases from LFO, Coldcut, and 808 State and is credited with opening the door at Top 40 radio in America again for DJ's with the success of Bob Sinclar's "World Hold On" in 2006.

Known for fusing Electronic music with Hip Hop since its early days, Tommy Boy helped to establish Latin Freestyle and Latin Hip Hop genres with the release of multiple singles and albums from TKA, K7, and Information Society.

In 1989, the label became the first label to market its own clothing line to mainstream consumers via its Tommy Boy Gear line, partnering with brands like Stussy and Carhartt. Tommy Boy continues to license its logo to designers and retailers worldwide including Maharishi and Urban Outfitters.

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