Written and recorded between London and New York from 2019 to 2025, The Living Likeness Of My  Electric Daemon finds MIRACLE, the duo of Steve Moore and Daniel O’Sullivan, at their most distilled  and uncompromising. 

Mixed by Moore and mastered by James Plotkin, the album unfolds as a ten-part song cycle navigating illusion and embodiment, ecstasy and annihilation, devotion and  domination, the ancient and the algorithmic. The electric daemon is both an inner familiar and an externalized intelligence: the soul in the machine and the machine in the soul. The record asks not whether technology is sentient, but whether  we are becoming its living likeness. 

The album’s artwork, created by Turner Prize nominee Mark Titchner, presents a cybernetic mutation  of the classical Pietà: Madonna and Jesus are rendered in rubbery black PVC-like material, segmented  and articulated with zips, evoking devotion and corporeal fragility refracted through a synthetic, technological lens. 

Musically, the album deepens MIRACLE’s singular synthesis of devotional pop, kosmische propulsion  and gothic minimalism. Moore’s lattice of analogue and digital synthesisers pulses and corrodes in  equal measure. O’Sullivan’s voice moves between incantation and intimacy, hymnal and wounded.  

Tracks like “Ambrosia” sets a devotional tone, steeped in alchemical and cellular imagery,  where spirit is embedded in matter and matter 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,” with guest vocals by Rose Keeler-Schaffeler (KEEL-HER), the apple becomes touchscreen icon. The Living Likeness Of My Electric Daemon invokes the myth of Pygmalion and Galatea, refracted through the black mirror of the 21st century.

If earlier releases suggested a haunted jukebox, The Living Likeness Of My Electric Daemon feels like a  chapel wired directly into a mainframe.