Recorded in 1997-1998, Process, Object, Intuition is an immersing album of ambient processed guitars. Damian Catera uses a custom-built guitar he plays with objects like a screwdriver (used as a bow) or a cigarette lighter (rubbed on the fretboard). The sounds are fed to a computer running self-designed patches in the MAX programming environment, all in real time. The resulting pieces sound like half harsh drones, half electro-acoustic pieces, with evocations of K.K. Null and David Lee Myers. The programs have a mind of their own; they include chance algorithms and often take the guitarist by surprise -- that's what makes the music compelling, this struggle between chaos and order. "Race Point Light" sucks you into its droning universe, letting go only after 19 minutes, when the computer crashes and the piece reaches its unexpected end -- a positive turn of events, since it avoids the almost inevitable fadeout. "Ilal" and "Accident" are performed on acoustic guitar, but you won't notice it. The latter begins with nice go-stop-go figures and includes a faint conversation that is of unknown origin and ended up there by accident, so listeners are told in the liner notes. "Composition 45" concludes the disc with a harsher outburst, the "industrial evil" kind. Less impressive than Catera's 2002 CD deCOMPOSITION, this album still manages to go beyond computer processes to provide intelligent noise.
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AllMusic Review by François Couture