Curawaka calls its sound "sacred world music," and the catalogue reads like a slow widening circle. It begins with the debut Call of the Wild, which the bio places on Nixi Music in 2018 and streaming listings date to 2019. That record set out the vocabulary: Anna Bariyani's projected vocals, sung across seven languages, over charango, quena, sikuri flutes, guitars, bass and ceremonial percussion. In 2021 the band opened the songs to other producers through remixes by Mose and ALUNA. The year 2022 brought the singles Shamboriri and Freedom Song, plus Bella Flor for a film soundtrack. Dreamtime followed in 2023, a ten-track album, with La Senda alongside it. OLOKUN arrived in 2025, turned toward the sea and the sacred feminine. In 2026 the arc bends toward the dance floor with Dreamtime Remixes and five remix singles. Fifteen releases are covered below, and only three are full albums. The rest are singles, which I mark as such.
2026. This is the newest full album, five tracks of reinterpretation. The remixers named across the band's 2026 releases are Namirí, Crussen, Nils Olav, J. Pool and Ida Engberg. Expect the ceremonial pulse to be pulled toward club-adjacent listening, with the voice still central but the percussion reframed. It is a companion piece, not the band's core sound, and it rewards listeners who already know the originals. In the arc, it marks the project's most outward-facing move, trusting other producers with its songs. Start with the J. Pool treatment of Shamboriri. The original is the short test the band's own sources suggest, so you can hear exactly what changed.
2026, single. A reworking of the 2023 single La Senda by Namirí, and one of the five remix singles that arrived in close succession. The title, Spanish for "the path," suits a remix that turns a familiar road into a new landscape. Details of the production aren't documented, so let your ears settle it: listen for what happens to the vocal line and how much of the ceremonial rhythm survives. It sits late in the arc as part of the 2026 remix program, a bridge between the band's roots and electronic listening. Drop in with the single itself, since there is only the one piece to hear. Ideally, play the original first, then this.
2026, single. Crussen's remix of La Respuesta ("the answer") is among the 2026 singles that reinterpret the repertoire for different rooms. The profile gives no tempo or production notes, so treat this as an invitation rather than a promise. Its place in the arc is the remix wave, in which Curawaka lets collaborators take the material somewhere the original sessions wouldn't. The title is the entry point, and the single is the whole of the release. If you enjoy hearing a voice rooted in ceremony meet a producer's sense of space, this is a natural stop between the other remix singles.
2026, single. The band's own sources single out the Nils Olav and J. Pool remixes as the ones that move closest to electronic territory, so this is a good choice if dance-floor energy appeals. It reworks Bitatara and should be heard as reinterpretation, not as the band's core sound. In the arc it belongs with the cluster of 2026 singles that preceded the Dreamtime Remixes album. The single is the track to start with. Come to it ready for a more rhythmic, produced surface, and listen for how the voice stays at the front while the setting changes.
2026, single. J. Pool's remix of the 2022 Shamboriri is, together with the Nils Olav version, among the closest approaches to electronic territory in the catalogue. The band's own sources suggest Shamboriri works as a short test before committing to a full album, since both an original and a remix exist. Hearing them back to back shows the song's bones. In the arc, it is a 2026 rework of a mid-career single and an example of the catalogue being looked at again. Begin with the remix itself, then return to the original for contrast.
2026, single. Ida Engberg's remix takes the title song of the 2023 album into the 2026 remix program. The details of the arrangement aren't documented, so it is best approached by ear: notice how the dreamlike title translates into a new rhythmic frame. In the arc, it links the album and its remix companion, and listening to it before Dreamtime Remixes makes a sensible warm-up. Drop into the single directly. It is a compact way to sample the remix idea, and it pairs naturally with the original Dreamtime if you want the source beside it.
2025, single. OLOKUN is the most clearly ceremonial title in the discography as described: it calls on the sacred feminine forces of the sea for healing and balance. The discography lists it as a single, not an album, but its themes make it a milestone. It follows Dreamtime by two years and gives the band's concerns a distinct watery focus. For a listener drawn to healing, it is the logical step after the first two albums. The track to begin with is OLOKUN itself, and the voice is the thing to follow. Expect the projected, full register the band is known for, not whispered devotion.
2023. Dreamtime is a ten-track album and the clearest picture of how the band's sound developed after years of touring. The length gives room for textures to unfold, which suits longer listening sessions. Charango, quena and sikuri flutes sit beside guitars, bass and percussion as real partners to the voice, not decoration. In the arc, it is the second album and the point where the debut's formula settles into confidence. Start with the title song, Dreamtime, which the Ida Engberg remix later revisited. Then let the album run, and compare it with the debut to hear the growth.
2023, single. Released the same year as Dreamtime, La Senda is an accessible entry point, especially for listeners who first met the band through remixes. The title means "the path," a fitting image for the band's cross-cultural, study-driven approach. The profile doesn't detail its arrangement, so the song itself is the best guide. It sits at the midpoint of the arc, later reworked in 2026 by Namirí. Start with the single, the only track, then follow it forward to the remix to hear how far the song can travel.
2022, single. A notable outlier: Bella Flor was drawn from the soundtrack of Beginning of a New Era, which places the band's music in a film-linked context, beyond the stage and the retreat. The title means "beautiful flower." Little else about it is documented, so this section stays short. In the arc, it shows Curawaka's reach into other media, and it is worth hearing to complete the picture. The single is the only track to start with. Treat it as a companion piece rather than a centerpiece.
2022, single. Freedom Song arrived in the same year as Shamboriri and Bella Flor, a busy stretch of singles between the debut and Dreamtime. The profile offers no further description, so rather than guess, I'd point you to the song itself. In the arc, it belongs to the middle period when the band was releasing music in short form. The title track is the place to begin, and it is the entire release. Listen for how the voice carries the song, as it does across the catalogue.
2022, single. The original Shamboriri is a short test before committing to a full album, according to the band's own sources, and it was later reworked by J. Pool. It shows the formula compactly: a powerful lead voice, ceremonial rhythm and the Andean instrumentation in the setting that defines the band. In the arc, it sits between the debut era and Dreamtime. The single is the track to drop into first, and it makes a clean comparison point with the 2026 remix. If you only have a few minutes and want to know whether Curawaka suits you, begin here.
2021, single. One of the band's first remix releases, ALUNA's take on Cuñaq shows that the habit of inviting collaborators reaches back several years before the 2026 wave. The profile doesn't describe the production, so listen for how the remix handles the voice and the percussion. In the arc, it comes two years after the debut and begins the practice of reinterpretation. The single is the track to start with. It pairs naturally with the Mose remix from the same year.
2021, single. Te Nande is one of the songs named from the debut, and Mose's remix is the earliest evidence of the band's remix program. Hearing it beside the original is a study in how a ceremonial song behaves in a new setting. The details of the arrangement aren't documented, so trust your ears. In the arc, it connects the debut to everything after. Begin with the single itself, and try the original from Call of the Wild afterward to hear both versions.
2019 on streaming; the bio dates the debut to 2018 on Nixi Music. This is where a newcomer should start. It introduced Noku Mana, Te Nande and He Yama Yo, and it shows the core formula clearly: Anna Bariyani's voice moves between indigenous-language lyrics while charango, quena and sikuri flutes carry the ceremonial rhythm. It establishes the vocal and instrumental vocabulary that later releases build on. In the arc, it is the root. Drop in with Noku Mana, then let Te Nande and He Yama Yo follow. Expect a full, projected voice, not a hushed one.
Devotional: Call of the Wild. Begin with Noku Mana and hear the voice and ceremonial rhythm in their original form, the root of everything else.
Contemplative: Dreamtime. Ten tracks give the textures room to unfold, so it suits a long, unhurried sitting. Start with the title song.
Energetic: Shamboriri (J. Pool Remix), or the Bitatara remix by Nils Olav. Both lean toward electronic territory, and the voice stays in front.
Healing: OLOKUN. Its call to the sacred feminine forces of the sea, for healing and balance, makes it the clearest choice. Audition it first, since the vocal intensity is projected and not hushed.