New tracks “Kaukuarjuk” and “The Great Angakkuq (feat. Kevin Qamaniq-Mason)” are out now
What does it sound like when the ancestors sing back? Acclaimed Inuit throat-singing duo Silla returns with two powerful singles — “Kaukuarjuk” and “The Great Angakkuq (feat. Kevin Qamaniq-Mason)” — that reach across generations and genres to embody Indigenous resurgence, kinship, and sonic evolution.
Comprised of Charlotte Qamaniq (Iglulik) and Cynthia Pitsiulak (Kimmirut), Silla has been captivating audiences with their genre-defying fusion of katajjaq (Inuit throat singing), hard rock, electronic, IDM, and post-industrial textures since 2005. Currently based in Ottawa, the duo has received two JUNO nominations and two Summer Solstice Indigenous Music Awards for their work with Silla and Rise. With these new singles, they assert themselves not only as keepers of tradition but as creators of future worlds.
“Inua and Sila is Boss is a double-album concept,” says Charlotte. “One side is our inheritance, songs sung for generations. The other side reimagines that world — same roots, but plugged into amps, synths, and storytelling arcs.”
These dual singles mark the arrival of both albums: Inua (out June 21) and Sila is Boss (out July 9).
“Kaukuarjuk” is a traditional throat song composed by Charlotte’s brother Kevin Qamaniq-Mason — and the name of a powerful Angakkuq (shaman) passed down to him through the Inuit custom of tuq&urausiit (namesake kinship). Performed by Cynthia and Charlotte in powerful rhythmic counterpoint, it’s “A reminder that these songs are a tribute to our past, a lesson in kinship, and a step forward for using our traditional music in new ways.” Charlotte says.
The reimagined counterpart, “The Great Angakkuq,” transforms that tradition into a cinematic soundscape of off-kilter rhythms, synthwave pulses, and overdriven guitar — a collaboration with Kalalliit (Greenlandic) superproducer Andachan, and featuring Kevin on vocals. “It begins with footsteps crunching snow and a building storm,” Charlotte shares. “Then comes the calm: a moment featuring qiarvaaq — an ancient form of Inuit throat singing with lyrics.”
Those lyrics, written by Charlotte, are a love letter to Inuit Nunaat (our land):
Una Nuna — This Land
Tigumiattiarlugu — Hold it dearly
Piummarittu — Is so beautiful
Uumaju — It is alive
These releases are more than just songs. They’re vessels of memory.
“Inuit naming isn’t just about identity — it’s about continuity,” says Charlotte. “It keeps our community close, and the memories of our loved ones alive for future generations”.
Both tracks are released under Qamaniq Records, the duo’s own imprint. The single artwork comes from a longtime friend and Iqaluit-born artist, Josh Qaumariaq, known for his bold acrylic depictions of Arctic wildlife.
“Josh’s work glows with the light of our people,” Charlotte says. “His polar bear paintings remind me of Nanurluk, the great polar bear spirit we reference in the next song to come.”
Hi Charlotte! Good to meet you! Care to introduce yourself to the readers for those not familiar with your music?
Hi! I’m Charlotte Qamaniq from Iglulik, Nunavut. I’m one half of Silla–the Inuit throat singing duo. My partner, Cynthia Pitsiulak, is from Kimmirut, Nunavut. We get asked who we are and have been saying the same type of answer for years, so instead I’ll tell you a bit about my home of Iglulik. Iglulik is an Inuit cultural capital of sorts. We’re still heavy practitioners of tuq&urausiit, which is our traditional kinship and naming system. It keeps our community close – anyone can ask to name a child after someone, it isn’t just about identity — it’s about the continuity of our ancestors. I’m proud to be Iglulingmiut, and I’m very lucky that despite living between Iqaluit and Ottawa, away from my hometown for many years, I still have a strong connection to my family and community.
These new releases feel like more than music—they feel like living memory. What does it mean to you personally to carry forward songs like “Kaukuarjuk” in 2024?
Absolutely, Inuit culture is oral. Any traditional throat songs that we sing have been passed down through generations, and so they are a living memory of our ancestors. There’s an amazing quote from Margaret Aniksak, that captures the essence of their significance:
“The words contained in the throat singing (qiaqpaarniq) tradition are the words spoken by our distant ancestors. Over time, their meanings have been forgotten, and perhaps that is why their significance remains elusive… They came from the mouths of the ancients.”
Katajjaq (Inuit Throat Singing) is a musical form practiced primarily by Inuit women. It involves two singers standing face-to-face, using their throats, breath, and voices to create rhythmic, interlocking patterns that mimic sounds of nature, animals, and everyday life. There is both deep spiritual significance to the practice, and practical, playful significance as well.
Kaukuarjuk is a special song because it’s a new composition. There aren’t many new throat songs being created, and my hope is that pieces like this—sung in the traditional style—will resonate with a new generation of Inuit and help keep the tradition alive. I shared a video on social media explaining how to sing it, and just a few weeks later, when I was performing in Iglulik, a young Inuk woman who had spent days practicing approached me and asked to sing it with me. I was so excited! Sometimes you work on songs in isolation for a long time, and then you release them and aren’t really sure where they’re going to end up. Katajjaq is so niche, there’s not a huge fanbase of traditional singing, and as a closed cultural practice, there’s not a huge number of singers out there, so when you actually see that your work resonated with a young Inuk and they took the time to learn, that makes me so proud. That’s the reason why I sing traditional songs. That’s the reason songs like Kaukuarjuk are important in 2025.
“The Great Angakkuq” is such a cinematic reimagining of tradition. How did you approach fusing ancient forms like qiarvaaq with synths, guitars, and storytelling arcs?
Silla is all about contemporizing traditional songs. We want people to dance and move to our music and really feel it. Our traditional music forms like katajjaq, qiarvaaq, and pisiit have deep roots that Cynthia and I connect with. Adding musical elements around our traditional stories and songs gives them greater power and helps us forge a deeper connection with the listener.
Kaukuarjuk is the name of a great Angakkuq — a powerful shaman — and it’s also the name my aniannuk (dear older brother), Kevin Qamaniq-Mason, carries, passed down from our Ataatattia (grandfather). Kevin composed the original throat song behind this track. As a fan of progressive bands like Tool and Symphony X, he brought a love of odd meter and unconventional rhythm into the piece, giving it an off-kilter, dynamic feel. Most traditional Inuit throat songs are in duple meter and performed as a call-and-response between two female vocalists. On The Great Angakkuq, it’s Kevin and I — his deeper vocal register adds a contrast rarely heard in katajjaq.
When we composed the song The Great Angakkuk, I wrote a story about Kaukuarjuk to conjure up the images and feelings I wanted people to experience when listening to the song. The story is about a journey that Kaukuarjuk takes, guided by his tuurngaq (spirit helper), to visit a powerful and dangerous spirit, Nanurluk, a giant polar bear the size of a massive iceberg.
The beginning of the song starts with the sounds of Kaukuarjuk’s footsteps crunching through the snow and the gusting wind, the synth lead gets introduced giving his journey drive and direction, and then the vocals and guitar come in. I pictured the off-kilter vocal rhythm and driving guitar like a storm that Kaukuarjuk must endure as he pushes forward towards his goal.
During the bridge of the song, I thought of the storm subsiding and Kaukuarjuk seeing in the distance his destination. I envision this section like the calm moment before an even greater challenge. It features qiarvaaq, a lesser-known form of Inuit throat singing that uses lyrics, unlike katajjaq. This piece marks my first exploration of qiarvaaq. I don’t know any traditional songs in the style, nor do I know anyone who knows much about them either, so I wrote a simple poem with short words and shaped it into a song—an attempt to spark curiosity and inspire others to maybe try qiarvaaq and explore the idea of bringing it back. I have a handful of archive recordings, but I want to do more research.
After this brief pause, the song continues with heavy guitar and drums, building up to what will be Kaukuarjuk’s confrontation with Nanurluk… but the song ends! You’ll have to wait for the next song, The Great Nanuq, to hear what happens.
You’ve spoken about tradition as a living force. What are some of the ways you stay grounded in katajjaq while pushing the sound in new directions?
Our old spirituality was suppressed by Christian missionaries during European colonization of our homelands. It was forbidden to sing the traditional songs, and we’ve lost a lot of knowledge. The good news is that there are more Inuit throat singers than ever, and there’s a hunger to learn and revitalize our old musical forms. Silla maintains the traditional katajjaq practice by singing the songs in the traditional way with two vocalists, a leader and follower, but we aren’t afraid to experiment with the music that accompanies our vocals. We aren’t afraid to innovate and push the boundaries of what’s possible.
You’ve said these songs are invitations. For listeners new to throat singing or Inuit traditions, what do you hope they feel when they press play?
For our Southern audience, I’d like them to wonder what they’re listening to and to get curious about Inuit culture. Often, it feels like we get lumped in with other indigenous peoples in Canada, but Inuit are a very distinct group of people. Our way of life, traditions, and language are very different. We live in remote arctic communities, which most Canadians never get/seek the opportunity to visit. So yeah, I’d like people to know how awesome Inuit are. We’re resilient, brilliant people.
For Inuit curious about katajjaq, I’d like them to pay attention and listen for how to lead and follow, and switch seamlessly between leader and follower during a song. Good throat singers try to throw their partners off. You have to have a strong partner who challenges you, and you build that relationship and chemistry over the years of practice. Cynthia and I have been singing together for over 20 years, and we’re still finding ways to surprise each other.
Upcoming Shows:
May 13 – National Arts Centre (Tapiriit), Ottawa
May 22 – REMAI Modern (Fireside Chat), Saskatoon
May 23 – REMAI Modern (Klik My Heels), Saskatoon
June 7 – Arts Court (Pique Summer Edition), Ottawa