Miracle: drone gods stride out from the shadows into synth-pop bliss

Many cover versions are eternally in vogue – ‘You Got The Love’, ‘I Am The Resurrection’, ‘Dancing In The Dark', all done to death. Few big buzz bands, however, have covered 12th-century saint St Francis Of Assisi. Could Miracle’s forthcoming re-working bring Frankie back to relevance? Is he the next Gang Of Four?

“It’s just really sad. He’s in pain. You might say he’s putting himself through it. This devout, saintly being, demonstrating his devotion…” Daniel O’Sullivan, 50 per cent of Miracle, trails off as he describes the track they’re cooking up for their forthcoming album. It ties into his description of Miracle as: “The inescapable versus the inevitable... a sort of striving for transcendence, but a hopeless one too.”

If there’s an air of Hurts-ian pretention in O’Sullivan’s lines, it’s a bit misleading. He’s funny, self-deprecating company. And despite an obvious love of big ’80s pop, you don’t detect that Miracle are so keen on the “We’re Number One in Greece!” mass-market of many of their synth contemporaries. For both him and his transatlantic partner, New York’s bona fide “synth wizard” Steve Moore, this is already by far the most mainstream they’ve ever ventured. Steve has a whole slew of acts under his banner: Titan, Gianni Rossi, Lovelock, and most notably Zombi, his ‘Goblin’-tributing space rock thing. Daniel, meanwhile, specialises in drone and prog: the legendary Sunn O))), Guapo, Æthenor, via a spot in The Big Pink and in cult avant-metal heroes, Ulver.



Theirs is the sort of coming-together that happens more and more. Having met on tour, two musicians begin emailing songs to each other across the Atlantic. Then someone outside the loop hears one. Then things go crazy. In Miracle’s case, that track was the silky, slow-mo arpeggiator of ‘The Visitor’. But those who haven’t sampled their sublime debut EP ‘Fluid Window’, put down the Hurts album and get to it. The collective sighs of ‘This is how it’s meant to be done!’ pay tribute to an enveloping synth-pop experience. Quite overwhelming... almost, ahem, miraculous.

Need To Know

• Daniel has written a song for the forthcoming Big Pink record. It was originally meant for a Twilight soundtrack, but got rejected. “I was very much writing to spec,” he says

• Steve is obsessed with the soundtrack works of John Carpenter

• They both like ‘getting high’

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