music. In the 1980s they took Caribbean music to another level by recording in the new digital format. The style lost ground in the late 1980s due to the strong presence of cadence or compas, the main music of the French Antilles. A special style within the zouk is "zouk love", characterized by a slow, soft and sexual rhythm. The inspiration for the zouk love style of rhythmic music comes from the Haitian compas, as well as music called cadence-lypso — Dominica cadence as popularized by Grammacks and Exile One. The lyrics of the songs often speak of love and sentimental problems. The music kizomba from Angola and cola-zouk or cabo love from Cape Verde are derivatives of this French Antillean compas music style, which sounds basically the same, although there are notable differences once you become more familiar with these genres. A main exponent of this subgenre is Ophelia Marie of Dominica. Other Zouk Love artists come from the French West Indies, the Netherlands, and Africa. In Brazil, the zouk rhythm is used to dance the Brazilian Lambada. Since the addition of many new steps changed the characteristics from Lambada, a new name was given to this dance "Zouk-lambada", which was originally called "zouk Love", later just "zouk". Today, the Brazilian Zouk has changed, and the name "Traditional Zouk" has been given to the dance that was first taught by Adilio and Renata in the beginning of the '90s, which is now didactically used all over the world. In the late '80s, the WCK or Windward Caribbean Kulture, was formed by a group of highly creative young Dominican musicians. The band heralded in a new and much needed resurgence of live music and created a new wave in Dominicas musical evolution. They began experimenting with a fusion of cadence-lypso, the native lapo kabwit drum rhythms and elements of the music of jing ping bands. This group came together to fill a void left by several of Dominica's most internationally recognized bands such as Exile One and Grammacks. While the Cadence-Lypso sound is based on the creative use of acoustic drums, an aggressive up-tempo guitar beat and strong social commentary in the native Creole language, the new sound created by WCK, focused more on the use of technology with a strong emphasis on keyboard rhythmic patterns. The band played a blend of the local Cadence-lypso and traditional Jing ping, chanté