Recorded in both London and New York between 2019 and 2025, “The Living Likeness Of My Electric Daemon” marks the return of Miracle after an eight-year absence. A third album marked by a very fascinating cover, practically a mutation of Michelangelo's famous “Pietà”, with the Madonna and Jesus segmented by zippers, in such a way as to evoke devotion and bodily fragility filtered through a synthetic and technological lens.
Who is behind this project? Certainly not the latest arrivals: we are talking about Steve Moore (American composer and producer) and the multi-instrumentalist David O'Sullivan, the latter an effective member of Ulver from 2011 until the last limit reached by the Norwegian band, “The Assassination Of Julius Cesar” in 2017, an excellent synth-pop album unfortunately replicated by other rather similar but increasingly less compelling works.
Miracle's music lights up partly thanks to these coordinates (unmistakable songs like “PVC Vest” or “Time Is The Fire”), but with a pinch of more magic: “Ambrosia” is pure new wave with a significant sophisti-pop touch (sensations re-proposed later with the rarefied “Eternalize”), while for a dark-oriented just wait for it depechemodian “Fluid Window”, one of the most successful passages of the work. The mechanical “The Charnel Pit” and the shamelessly synth-pop are also good eightieth of the danceable “The Eye”, a light and carefree episode of those that make you press the button play once again.
The results are very comforting even when Miracle tries to raise the bar: the seven-plus minutes of the final “Cities Of The Interior” still call Depeche Mode into question, for a sort of celebration updated to the present of the “Some Great Reward” period, the worthy closing of an album that is certainly inspired, as well as veiled by intriguing gothic-esoteric atmospheres (they themselves define themselves as a project esoteric synth-pop). Between elegant minimalism and electric demons.
07/29/2026
Daniel D`Amico for SANREMO.FM
