Turn the Furnace On

Twelve uneasy pieces, these songs are rough and unhewn like the stones that make up an altar precipice. Bevel is the An unpolished document, TURN THE FURNACE ON exists in the same moody and emotional climate as Yoko Ono's SEASON OF GLASS and Red House Painters' OCEAN BEACH. Not so unlike Skip Spence's OAR, TURN THE FURNACE ON is the product of a man who has for years existed in the public eye only as a member of a greater whole (Nuon being a core member of the Richmond, Virginia, group Drunk, as well as an occasional member of Chicago-based Manishevitz; Spence with San Francisco's Moby Grape). Like Oar, TURN THE FURNACE ON is the sort of creative watershed which begs the listener to re-examine the works done by the artist in his more well-known group and experience his effects there more acutely, with more regard for the subtle force of personality which has rightly been made more evident. name of a character in modern Southern literature. Turn the Furnace on is the debut album by Bevel, and it is a feat of beauty. Conceived, composed and captured almost entirely by one man, Via Nuon, Bevel's TURN THE FURNACE ON is a subtle work of solitary triumph. Few albums created by the hands of one succeed in leaving such an indelible impression of personality. Most solo artists -- especially those of such minimal design -- are required the span of a career to leave their mark on the ever-evolving body of song. But with TURN THE FURNACE ON Bevel distinguishes Via Nuon as a brave new voice in folk form.