MIRACLE - The Living Likeness Of My Electric Daemon

Recorded in both London and New York between 2019 and 2025, "The Living Likeness Of My Electric Daemon" marks the return of Miracle after a full eight years of absence. A third album distinguished by a fascinating cover, essentially a mutation of Michelangelo's famous "Pietà", with the Madonna and Christ segmented by zippers, evoking devotion and bodily fragility filtered through a synthetic, technological lens.

Who's behind this project? Certainly not newcomers: we're talking about Steve Moore (American composer and producer) and multi-instrumentalist David O'Sullivan, the latter an official member of Ulver from 2011 up to the last frontier reached by the Norwegian band, "The Assassination Of Julius Cesar" from 2017, an excellent synth-pop record, unfortunately echoed by other rather similar but increasingly less compelling works.
Miracle's music partly ignites thanks to these same coordinates (unmistakable tracks like "PVC Vest" and "Time Is The Fire"), but with an extra touch of magic: "Ambrosia" is pure new wave with a distinct sophisti-pop touch (feelings echoed later on the rarefied "Eternalize"), while for a proper dark-oriented dive you just need to wait for the Depeche Mode-esque "Fluid Window", one of the record's most successful moments. Also strong are the mechanical "The Charnel Pit" and the shamelessly eighties-flavored synth-pop of the danceable "The Eye", a light, carefree episode of the kind that makes you hit play one more time.

The results remain reassuring even when Miracle try to raise the bar: the seven-plus minutes of closer "Cities Of The Interior" once again call to mind Depeche Mode, in a kind of present-day update of the "Some Great Reward" era, a fitting close to an album that's undeniably inspired, as well as veiled in intriguing gothic-esoteric atmospheres (they themselves describe the project as esoteric synth-pop). Between elegant minimalism and electric daemons.

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29/07/2026