Beaupré’s is an album of harpsichord music, but composed from sounds recorded while he makes them (percussive, plucking, planing and so on) processed and constructed electroacousticly. Not surprisingly it is a complex album, which hardly ever really reveals its origin. Prélude démesuré rumbles, twitters, tinkles loops, percusses, sirens and fades. More fragments in La Beauséjour including some string strums, then looped rhythms, dits, soft tones, some voicey propulsion; strings looping and light hammering; tones chits and more voices, relaxed ratchets, computer boobles; building light percussion, the strums return manipulated, loose and stretched, whispering end. The other tracks are similarly eclectic - more angular in La Laurendeau with a loop that sounds like ‘into the car’ (unlikely as it is) and percussive, La Pelots Point is abstract and dramatic, with a plucked melody which leads to the still heart of the album, tones and scrabbly voices, very lovely. After which the piece rebuilds with some computer bubbles - the samples have been processed - keening tones. More little noises and melody in La DDB with swirls tones and processed voices (was Baupré talking to himself? The clittery clatter drones tones and more of Péroraison provide an rhythmic and lovely conclusion. Neither academic nor unapproachable, this is a delightful album of sounds which have been recorded selected processed and sequenced with an ear to the delicate and fascinating relationships that can be created through them. Begun in the labour of wood and metal work this is a grounded and delightful album.