My youth is full of musical memories, ranging from Sunday afternoon brushes with\u00a0my father\u2019s classical record collection<\/a> to my uncle\u2019s frequent performances of Simon and Garfunkel<\/a>\u00a0classics in our family library. But to this day, one of the strongest (and most beloved) remains our weekly tidying of the house to the upbeat stylins\u2019 of\u00a0\u201cThe Best of the Bothy Band.\u201d<\/a><\/p>\n For someone blessed with a boundless supply of youthful energy, the most frequently played track was (unsurprisingly) the jig-and-reel set, \u201cLeitrim Fancy\/Round The World For The Sport\/Rip The Calico\/Martin Wynne\u2019s\/The Enchanted Lady\/The Holy Land.\u201d<\/a>\u00a0But the most fascinating cut was always \u201cFionnghuala\u201d<\/a> \u2014 a weird and wonderful example of\u00a0\u201cPuirt \u00e0 beul (mouth music).\u201d<\/a> To this day, it remains one of the most peculiar (and magical) sounds I\u2019ve heard, cropping\u00a0up from time to time on my playlists and bringing me to a halt<\/a>\u00a0whenever it appears. Background music it most definitely is not; it craves (even demands) attention.<\/p>\n A few months ago, a quick YouTubin\u2019 session that began with Julie Fowlis\u2019<\/a>\u00a0wonderful performance of \u00a0\u201cTouch the Sky\u201d<\/a> on the \u201cBrave\u201d<\/a> soundtrack led me to this:<\/p>\n