Mouthful

The Monastic Choir Of The Valaam Monastery Of The Transfiguration Of The Savior – The Athos Of The North Традиции Православного Пения, 1999 #albumweek Sometimes I have to remind myself of the vaporous, unnamable, unspeakable source that music comes from, at least for me, and where it goes after. I suspect that our small human ears are only a way station along the ultimate trajectory of the music. It stops by for us, slows down a bit but then carries on it way to that other place. — Henry Birdsey

Áine O'Dwyer – Music For Church Cleaners Fort Evil Fruit, 2012 #albumweek This record has played a lot when I'm packing up my belongings — going camping, long car trips, transatlantic tours. When I've moved out of houses I lived in this record made a ceremony of the moving, packing, cleaning, leaving, organizing. — Henry Birdsey

Robbie Basho – Visions Of The Country Windham Hill, 1978 #albumweek I play this record in my truck when I'm crossing US state lines. It feels like a passport to me, extra fuel, an incantation to bring out when I'm going through the Vermont-Canada customs line, or North I-5 at night, or Route 7 south into Massachusetts during a snowstorm. He had a prophetic voice and played the guitar like harpsichord. — Henry Birdsey

Robert Ashley – Dust Lovely Music, Ltd., 2000 #albumweek Breaks my heart in new ways every time, the voices and stories trying to swim together, the morphine sequence at the end, the slurred, slanted words of sorrow and longing. I heard it for the first time when I was about nineteen years old, and I had the feeling that I was hearing the truth of the pain of aging, loss, and time many years before those things would truly take shape in my life. — Henry Birdsey

The Wind Harp – Song From The Hill United Artists, 1972 #albumweek Sound of no mind, elegant and brutal at the same time. A rare document of non-human art, the majesty of seasons, regional wind, chance, metal. It brings up my memories of early spring in the Green Mountain National Forest, the woods waking up from winter. No thoughts here, no concepts, no virtuosity, no pageantry. Just the pure elegance of physics, acoustics, and ritual sound. This recording inspires me to not make music. — Henry Birdsey

The Wind Harp – Song From The Hill United Artists, 1972 #albumweek Sound of no mind, elegant and brutal at the same time. A rare document of non-human art, the majesty of seasons, regional wind, chance, metal. It brings up my memories of early spring in the Green Mountain National Forest, the woods waking up from winter. No thoughts here, no concepts, no virtuosity, no pageantry. Just the pure elegance of physics, acoustics, and ritual sound. This recording inspires me to not make music. — Henry Birdsey

Scott Walker – Tilt Fontana, 1995 #albumweek I've always said «Farmer in the City» would be my dream sequence karaoke song, maybe on the eve of a rapture or a long chemical winter. «Tilt» was my daily soundtrack walking to work for a year in New Haven, CT. The passing scenery is mapped onto the lyrics — the yeshiva, the foreclosed house, the baptist church, the funeral home, the sports bar. «Bish Bosh» was the first record I heard of his, and I worked backward from there. He may have been the only true operatic musician left in the 21st century — in the true sense of the word opera — a synthesis of works. I learned so much about engineering from this record too. — Henry Birdsey

Scott Walker – Tilt Fontana, 1995 #albumweek I've always said «Farmer in the City» would be my dream sequence karaoke song, maybe on the eve of a rapture or a long chemical winter. «Tilt» was my daily soundtrack walking to work for a year in New Haven, CT. The passing scenery is mapped onto the lyrics — the yeshiva, the foreclosed house, the baptist church, the funeral home, the sports bar. «Bish Bosh» was the first record I heard of his, and I worked backward from there. He may have been the only true operatic musician left in the 21st century — in the true sense of the word opera — a synthesis of works. I learned so much about engineering from this record too. — Henry Birdsey

Mississippi John Hurt – Today! Vanguard, 1966 #albumweek First music I ever heard. My parents had it on a bootlegged cassette with no artwork, just the track list. Hearing the sound of his voice stirs something archaic in my memory. I can smell and feel things I don't remember. I listen to him when I need a deep reset of my interior compass. No one plays guitar like him... — Henry Birdsey

Привет! Снова воскрешаем рубрику «неделя альбомов» с интересным гостем. Генри Бёрдси — композитор и музыкант из штата Вермонт. В дрон‑тусовке Генри крайне интересный персонаж, он играет на волынке, губной гармошке и педальной слайд‑гитаре — и это далеко не полный список инструментов. Не буду много писать, его музыка довольно часто появлялась на этом канале. Все ссылки будут в комментариях. Как и всегда — 7 релизов с текстами. Старт сегодня!

Various / Artists – Styx Mix #6 Self-Released, 2026 #styxmix Стикс шесть! Посвящается Саше Яблокову, давнему соратнику

Vorhex Angel – Live Echodelick, 2026 #heavypsych #noise Группа Джейка и Джамина из Jeff The Brotherhood

Cloud Nothings / Campfires – Split Bathetic, 2010 #psych #lofi #diy

Tom Malmendier – Rue David YGR4053, 2024 #percussion #freeimprov

Chiko Hige – Trap Japan, 1985 #nowave #punk

Annette & Paul Bley – Dual Unity Freedom, 1972 #freejazz #space

NON – Might! Mute, 1995 #albumweek Важный для меня альбом. Апатичный, многослойно нескончаемый звуковой поток, диссонирующий спокен-ворд, только добавляет странности этой записи. Мне нравится присутствие музыки, когда музыка — твой собеседник, вот здесь именно так. Есть история, о которой я постоянно вспоминаю, переслушивая этот релиз. Давно было, мы с челом вели мистический паблик на вк. Интересно всё это происходило, пока тот чудик без моего согласия не продал сообщество за пару тысяч какой‑то гадалке из Краснодара. Потому-что я опубликовал Might! без его ведома. Смешно и тупо. До сих пор загадка для меня.

Соломенные Еноты – Недостоверные Данные О Счастье Самиздат, 1994 #albumweek Еноты всегда были для меня призрачной группой, самовольно приходящей и ровно так же исчезающей из жизни. Никогда не слушал их поальбомно, в основном встречал на разных сборниках отдельные записи. Сейчас пытаюсь это исправить. Выбрал этот релиз, потому что ровно год назад, в начале 2025‑го, сидел и слушал его, прошёл год — ничего не изменилось. Здесь нет проходных тем — каждая песня врезается в память.