Dreamtime Remixes is a five-track album released on September 16, 2026. It is best heard as a companion piece rather than a starting point, and the details below stay within what is documented about it.
Curawaka calls its sound "sacred world music," a way of joining the new with the ancient. The band was founded by Norwegian vocalist and songwriter Anna Bariyani, and its members come from Norway, Mexico and Argentina. After nearly a decade on the road, with hundreds of live performances and two world tours, the catalogue runs from the debut Call of the Wild through Dreamtime (2023) and the 2025 release OLOKUN.
Dreamtime Remixes arrives in 2026 as the band's reinterpretation project. Rather than a new batch of songs, it hands existing material to other producers. The band's own sources name Namirí, Crussen, Nils Olav, J. Pool, Ida Engberg, Mose and ALUNA among the 2026 remixers, though the profile does not map each name to each track on this album. Think of it as a second listening session, best taken after the first two albums.
The original Curawaka sound is vocal-led. Anna Bariyani's projected, powerful voice sits at the front, moving among seven languages: Hatcha Kuin, Yawanawa, Sami, Spanish, Portuguese, English and Norwegian. Beneath her are charango, quena and sikuri flutes, guitars, bass and a range of percussion, with ceremonial rhythm providing the pulse.
The remix format changes the frame around that core. The remix program pulls the material toward club-adjacent listening, and some versions, notably those by Nils Olav and J. Pool, move closer to electronic territory. Expect the voice and the Andean timbres to remain recognizable while the pacing and low end are rebuilt. This is not hushed devotional singing, and it is not background ambient. The profile does not describe tempo or track-by-track pacing, so treat the electronic shift as a general tendency rather than a promise for every track.
I can't responsibly name this album's five tracks, because the track list isn't in the verified material. What can be said is which songs and remixers the band's own sources connect to its remix work:
- La Senda (Namirí remix). The original dates to 2023, and the Namirí reworking is described as an accessible entry point for listeners who found the band through remixes.
- Te Nande (Mose remix). One of the debut's named songs, reworked by Mose. It lets you hear a foundational song from Call of the Wild in a new setting.
- Cuñaq (ALUNA remix). The 2021 original was reworked by ALUNA.
- Shamboriri (J. Pool remix). The 2022 original has a J. Pool version, and it works as a short test of how far the band's sound bends toward electronic production.
Whether each of these sits on this particular album or was issued as a single is something to confirm on the Spotify page. What makes any of them land is the same: a voice carrying real weight against instruments that are usually treated as color elsewhere.
Curawaka does not claim a single spiritual lineage. Its framing is a cross-cultural practice built on study, collaboration and respect for indigenous traditions, with many years of study with the Wixarika people as the most clearly documented thread. The work engages shamanism, ceremony and shamanic drumming, which puts it nearer to medicine music and sacred chant than to conventional concert folk.
A remix album sits unusually in that setting. Most sacred music projects do not release a remix program at all. Here the ceremonial source material meets club-adjacent production, so the album is less a devotional document than a conversation between ritual song and contemporary dance-leaning sound. The Curawaka Alliance Fund, supported by merchandise sales, is the band's named financial link to the communities it learns from.
This album suits listeners who already know the originals and are curious how producers reshape them. It also suits people who come from electronic music and want a way into sacred world music, and anyone who likes hearing a single strong vocal line recast over new rhythms.
It is less suited to listeners who want purely ambient sound or who need English lyrics, since much of the singing is in Sami, Yawanawa, Hatcha Kuin or Spanish and translations are not part of the profile. Skeptics of ceremonial vocabulary will likely feel distanced. The honest test is whether you can sit with a sustained ceremonial vocal line without needing it to resolve quickly.
Give it a deliberate evening session with headphones, where the layering of flutes, charango and voice against reworked percussion is easiest to follow. Listen to Dreamtime first, then play this album as a second pass so you can hear what each producer kept and what they moved. Because the vocal delivery is projected rather than soft, audition tracks before using them for meditation or ritual practice, and treat any percussion-heavy remixes separately from calmer passages. For exact credits and the full track list, check the Spotify page or curawaka.com.
