Artist

Miracles

Miracles is a music group. Their discography on Gatefold includes 14 records.

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Biography

Miracles throw their bodies into nature’s cycle of collapse and renewal. Dirty bass, overdriven keyboards, sparse vocals and maniac drums try to compete with the crash and clatter of human fortunes and failures. After ten plus years of periodic collaboration on poetry, art and music projects, Adam Stolorow (vocals, keyboards) and Baxter Holland (bass) arrived in Brooklyn by way of late 90’s Providence and the requisite diet of utopian thinking and freak flag waving.

The Arc of Miracles

The pivots — what forced Miracles to reinvent.

The Colony Collapse Sessions
The 2008 debut emerged from a scene obsessed with angular riffs but stripped away the disco-beat artifice for something much more nihilistic. Recorded with a raw, almost industrial disregard for high fidelity, the session work focused on rhythmic repetition and high-frequency guitar stabs. You can hear the influence of the Northern English landscape in the coldness of the tracks, avoiding the lush production of their London-based peers in favor of a dry, punishing drum sound. It was a statement of intent that valued tension over resolution, setting a template for a brief but intense run of records.
The Ovum Evolution
Their final major statement saw the band leaning into more complex, textured songwriting without losing the initial bitterness that made them stand out. The recording process became more insular, pushing the vocals further back into the mix to let the interlocking guitar parts carry the emotional weight. It moved away from the more straightforward aggression of the early singles toward a sprawling, avant-garde sensibility that felt like it was breaking apart in real-time. This pivot proved to be their endpoint, as the intensity of the sound and the lack of commercial compromise made a long-term career nearly impossible to sustain.

Influences

Wire — The band cited the Pink Flag era's economy of songwriting as a primary blueprint for their own short, sharp structures. You hear it in the way they refuse to repeat a chorus more than absolutely necessary. It's that same 'no-filler' mentality that keeps the tracks under three minutes.
Gang of Four — The dry, percussive guitar work on Colony Collapse is a direct descendant of Andy Gill’s brittle tone on Entertainment! They focused on that same scratchy, rhythmic interplay rather than traditional lead playing. It creates a sense of perpetual motion that never feels fluid.
Joy Division — The band acknowledged the influence of Martin Hannett’s 'cold' production techniques, particularly the use of space and isolation between instruments. On Ovum, the drum placement feels distant and mechanical, mirroring the desolation found on Closer. It’s about the silence between the notes as much as the noise.
The Fall — The repetitive, motorik-adjacent grooves and the deadpan delivery of the vocals are a clear nod to Mark E. Smith’s early 80s output. You can hear that gritty, working-class cynicism bleeding through the lyrics. They took the idea of 'repetition' and used it as a blunt instrument.
Public Image Ltd — The metallic bass tones and dub-influenced low end on their later singles draw heavily from Keith Levene’s early PiL work. It’s that specific brand of post-punk that isn’t afraid to sound ugly or dissonant. They embraced the 'anti-rock' stance that Metal Box championed.