Entirely crafted through the processing of sounds deriving from the manual procedures related to the assemblage of ceramic tiles, the 18 minutes of Dyed In The Grain belong among the best work heard in recent times by Italian entities operating in this area of sonic manipulation. The latter word is essential in picturing the ideas gathering in our mind while listening to this pleasurably crisp piece. Battered adjectives like “tactile” and “organic” would also be functional in defining the qualities of the music, characterized by several moments of pure aural gratification. Rinaldi managed to extrapolate ambiguous harmonic halos, a tad of reminiscence and substantial amounts of mystery from inert materials; he utilized the effects without exceeding in the alteration of the original sources, leaving the inbuilt rhythms and repetitions of the working cycle practically unaffected. The outcome disinfects the ears from useless complication yet, at the same time, elicits a sense of impenetrability typical of records that make the most of a paucity of means to create momentous sonorities, gifted with the kind of mechanical ineluctability that defines an echoing installation. I don’t know exactly why, but something tells me that aficionados of the late-80s/early-90s embodiment of :zoviet*france: are going to welcome this one with open arms.