New album, “The Living Likeness Of My Electric Daemon”, out on June 26th!
Acclaimed electronic/dark-synthpop duo MIRACLE return with The Living Likeness Of My Electric Daemon, their third album and first new release in over eight years. Written and recorded between London and New York from 2019 to 2025, the album arrives via Relapse Records and finds Miracle at their most distilled and uncompromising.
Miracle once again unites two artists with rich musical histories across electronic, experimental, and progressive music: Steve Moore, one half of progressive synth-rock duo Zombi and composer of acclaimed contemporary horror soundtracks including The Guest and Mayhem; alongside vocalist/multi-instrumentalist Daniel O’Sullivan, known for his work with experimental/avant-garde acts Ulver, Grumbling Fur, Æthenor, Sunn O))), Guapo, Mothlite, and This Is Not This Heat.
Mixed by Moore and mastered by James Plotkin (Pelican, Sunn O))), Isis), the album unfolds as a ten-part song cycle exploring illusion and embodiment, ecstasy and annihilation, devotion and domination, the ancient and the algorithmic. The “electric daemon” functions as both inner familiar and externalized intelligence: the soul within the machine, and the machine within the soul. Rather than asking whether technology is becoming sentient, the record poses a more unsettling question… are we becoming its living likeness?
Musically, the album deepens Miracle’s fusion of devotional pop, cosmic propulsion, and gothic minimalism. Moore’s intricate lattice of analogue and digital synthesisers pulses, shimmers, and corrodes in equal measure, while O’Sullivan’s distinctive baritone shifts between incantation and intimacy, hymnal grandeur and wounded vulnerability. If earlier Miracle releases suggested a haunted jukebox… The Living Likeness Of My Electric Daemon feels like a chapel wired directly into a mainframe.
Tracks such as opener “Ambrosia” establish the album’s devotional tone, steeped in alchemical and cellular imagery where spirit is embedded in matter, and matter itself longs for transfiguration. “Consolamentum Day” draws on the annihilation of the Cathars in southern France, reframing medieval persecution as a recurring psychic event. On “Fluid Window,” featuring guest vocals from English musician Rose Keeler-Schaffeler (KEEL HER), the forbidden apple is reimagined as touchscreen iconography. Across the album, the myth of Pygmalion and Galatea is refracted through the black mirror of the 21st century.
The album artwork, created by Turner Prize nominee Mark Titchner, presents a cybernetic mutation of the classical Pietà: Madonna and Jesus rendered in rubbery black PVC-like material, segmented and articulated with zips, evoking devotion and corporeal fragility through a synthetic technological lens.
On their two previous critically acclaimed albums, Mercury (2013, Planet Mu) and The Strife Of Love In A Dream (2018, Relapse Records), Miracle established a trademark sound, nocturnal synthpop infused with gothic atmosphere, devotional melodicism, and kosmische propulsion. Drawing comparisons to vintage Depeche Mode and Talk Talk, the duo balance sleek futurism with romantic melancholy and ritualistic intensity.
