Under the moniker Amulets, Randall Taylor excels at creating lush, experimental soundscapes using cassette tape loops and live processed guitar loops that embody a sort of droning orchestration of sound. The result is something that can be equally overwhelming and moving. Previous releases like Between Distant and Remote (2019), Severed Seas (2020) and Blooming (2021) helped establish this style, and now with Not Around but Through, the Amulets template continues to bear deeply satisfying fruit.
As Amulets, Taylor’s sound falls somewhere between Amon Tobin (although not as aggressive) and Explosions in the Sky (but more abstract). It’s a widescreen sound that combines drones with a sweeping, almost orchestral flavor. “Crude Soil” introduces the album as a menacing, sustained overture that gives the listener a solid feel for the rest of the album. “Myriad” follows with a slightly gentler approach, warmer and more ambient than the somewhat threatening nature of the first track.
While Taylor is Amulets and makes up a vast majority of what’s heard on Not Around But Through, there are a handful of welcome guest appearances, particularly on “Lifelike”, which features an ethereal vocal take from experimental musician Midwife, aka Madeline Johnston. Acoustic guitar loops combine with growling drones as Johnston’s voice provides spacey but oddly sympathetic accompaniment.
Eric Nyffeler provides lap steel on “Seen Unseen”, adding a slightly ambient country flavor to Taylor’s powerful bed of droning soundscapes. The contemplative film score vibe of “Lowercase Letters” benefits from the saxophone of Daniel Kublick.
For every moment that the sound seems to embrace low-key ambience, explosive crashes are usually right around the corner. “Veils” begins as quiet contemplation but is eventually amped up to a more powerful sound, with disruptive, aggressive chords moving in to disturb the relative peace.
These dynamics are on full display on tracks like the closing “Burnt Siennas”, as the ghostly drone of the opening section is tainted with bits of distortion before the storm arrives and Taylor attacks with the force of a one-man Mono, bringing in bits of post-rock and orchestral ambition.
Labeling Amulets as “ambient” seems misleading, as the term can conjure images of quiet contemplation meant to remain in the background. Not Around But Through is an all-encompassing, enveloping sound that consumes the listener whole.