Renato Rinaldi
Dyed in the Grain
CD (E107)

All sounds processed from recordings made during
the manufacture of ceramic tiles: from prime material
collection to the hammering of the final test tile.
Recorded, processed and composed in August 2005;
re-arranged in May 2009. Mixed by Renato Rinaldi
and Giuseppe Ielasi.

See also
Renato Rinaldi (E136)
Out of print

Edition of 200 copies
Co-published with senufo editions

Renato Rinaldi (left) and shady companion
O’artoteca, Milan, January 2011


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,
characterised 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 utilised 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.

Massimo Ricci at Touching Extremes

What really stands this track apart from just about
everything else I ever write about here is its use of
rhythm. For the first half of the track there is actually
a straight-up dub echo chamber sound running through
the piece, with other subtle pulses and throbs running
alongside and right through the piece so as to retain
a sense of minimal rhythm throughout. Now, as regular
readers will know, this would normally turn me right
off of the music, but oddly here this really works.
Rinaldi’s use of other, abstract sounds, elements that
later revealed themselves to me to being tiles being
drilled, hammered, scraped, is excellent, creating sharp,
jagged shapes as well as soft billowing textures that
fold in and out of the rhythmic elements to fit the music
just right. It is beautifully balanced and very nicely
crafted, with a really strong sense of the whole
composition rather than just a load of little collaged
parts sewn digitally together as is so often the case
with this area of music.

Dyed in the Grain is a really unusual, individual piece
of music that actually would probably cross over well
to other audiences more used to more mainstream
material, and yet it also sounds like a well sculpted,
uncompromised piece of electroacoustic composition.

Richard Pinnell at The Watchful Ear

Recorded, processed and composed in August 2005;
Dyed in the Grain is a 19 minute work comprised of
sounds recorded during the manufacture of ceramic
tiles. They’re quite heavily processed, though some
drilling slides into earshot around the 12 minute mark.
My knowledge of the Italian tile making process is
far from comprehensive, but I’d guess it blends
artesanship and technology, a combination Rinaldi
hints at texturally, to very pleasant effect. A gauzy
background drifts gently, and is overlaid with re-
curring sound patterns and rhythms, as well as one-
off events, in particular some odd dub-like echo.

Nick Cain in The Wire