Humeur de facteur (“The Maker’s Humour”) consists of one large work in six movements. It is Yves Beaupré’s first album and first major work published - at age 47. This harpsichord maker has managed to create, in his spare time so to speak, one of the most touching, enjoyable and rewarding piece of electroacoustic music this reviewer has heard in a few years. One of the main reason why it works so well is probably because Beaupré tapped into his own sound world. Humeur de facteur mainly draws on sounds he hears everyday in his workshop and therefore consists of both a recreation and a fantasy of his quotidian environment. The piece sounds fresh, free of academic rules. The composer does not hesitate to integrate classic musique concrète techniques (pitch shifts, cut-and-paste, analog filtering, etc.) with computer music, even some electronica flavors. The latter never sound gratuitous, they simply naturally fit the man’s vision. The Prélude démesuré (“Enormous Prelude”) briefly exposes some of the basic material, drawing the listener into his world with a grip that won’t let go for the better part of an hour. La Beauséjour, the best movement, opens with a short harpsichord figure, the only snippet of the completed instrument on the whole record, and launches in a highly suggestive daydream of the maker’s labor of love. The Péroraison closes the piece with an unexpected turn to electronics, ending more like a Pan Sonic track than anything empreintes DIGITALes had previously released. The music follows a path similar to the music of Robert Normandeau and Francis Dhomont, playing with narratives and the unconscious. This beautiful surprise is highly recommended.