Some of us believe in miracles, some of us don’t…
[Video]
[5.84]
Taylor Alatorre: This song made me check if my computer was Y2K compliant. This song made me surf the alt.politics newsgroup to find out the date of the next WTO conference. This song made me “borrow” my weird friend’s Prima strategy guide for Sid Meier’s Alpha Centauri. This song made me call up my local PBS station to see if it had any plans to air episodes of Serial Experiments Lain. This song made me print out and annotate the lyrics to my illegally downloaded copy of NOFX’s The Decline EP. This song made me contemplate making an “Acceptable in the 90’s” pun. This song re-taught me HTML.
[9]
Leah Isobel: I need Kingdom Hearts AMVs set to this song and I need them immediately.
[8]
Jonathan Bradley: It’s vintage trance rather than blockbuster eurodance, but Calvin Harris’s ’90s pastiche is more dead-on than anything found on the Planet of the Bass. Precisely, it’s a dead-on recreation of “Children” by Robert Miles, though perhaps Ellie Goulding has been recruited to provide a point of differentiation. It took one-and-a-half listens to remind my that the odd warpings of her cellophane voice go from novel to vertiginous very quickly; they might be more welcome here if they were either less glassily pristine or more. The breakbeat at the end is its own work of miniature history: the years going on and club trends shifting to drum and bass.
[6]
Edward Okulicz: When I first heard this song I was sure it must be a sped-up remix thing a la Robin Schulz/Oliver Tree’s “Miss You”. How could it not have been? It’s just so much. I would suggest that if they want to squeeze any more virality out of this song, they might get some mileage by slowing it down. But then it might lose that tasty early 00s UK mainstream chart dance-pop energy it’s channelling so well.
[6]
Hannah Jocelyn: This gets a [6] because the way Ellie Goulding sings “Oh No” makes me think of Webcomic Name. But also because Goulding sounds the most like herself she has in years, after eras upon eras of producers wasting her fascinating vocal timbre. How many vocalists have a soprano voice that husky? How many have that weird vibrato? Goulding’s voice already sounds sped-up before Harris even touches it, and if it is sped up, I need to hear the version of “oh no” that sounds like “MacArthur Park.”
[6]
Crystal Leww: Calvin Harris is like the cat with nine lives of EDM, having gotten his start during the days of freaking bloghouse, blowing up during peak girly-ass EDM, continuing to thrive through the UK pop-house era, and sliding and funk waving bouncing through the late-aughts. I thought that finally he would retire to hitting the play button on prerecorded headlining sets in Vegas and Ibiza, but alas, he’s hopped on trance during a time when it’s back, baby. Trance’s grand return is something that’s been building with a very specific set of underground dance nerds for a while, in a bunch of different formats (see: the hypertrance crew, the hard trance pop song edits, and the latest point of arrival for PC Music/-adjacent gang), and Calvin Harris takes it all the way to UK #1. “Miracle” joins him back up with Ellie Goulding, who was one of his best collaborators during the peak girly-ass EDM era (twice). Goulding’s vocals have always felt like an intimate whisper – they’re there and they emote, but they never overwhelm – perfect for a track that needs to speed and glide on the clouds. This may be a sanded down, corners smoothed out version of whatever is happening in the underground but damn if Calvin hasn’t always been good at making a hook.
[6]
Nortey Dowuona: Fuck Calvin Harris and anyone who wants him to make EDM.
[3]
Scott Mildenhall: In lesser hands, this would be a facsimile, losing all joy in a vain search for an excuse to exist. In the hands of experts, it is joy afresh. “Miracle” is at one with its euphoric essence, granting it the space to diffuse and reveal itself not as pastiche, but as a reminder of the power of piano presets. Ellie Goulding in trance alien mode is the perfect fit: human, but not distractingly so.
[8]
Wayne Weizhen Zhang: I listened to this song twice this year, both times in the passenger seat of my middle aged uncle after not having seem him for years, stuck in traffic in Shanghai, singing along with broken English and appropriately and awkwardly bumping our heads. He thought it bumped.
[6]
Ian Mathers: I can’t remember if I’ve ever felt dismay when the beat comes in before, but on first listen that’s exactly what happened. I’m not even sure why! It’s not like I was much enjoying the song before that; maybe it just suddenly seemed clear this was going to be exactly what I’d expect from the combination of these two artists, neither of whom I love. It felt like I could have predicted the rest of the song from that point, and that’s kind of how it played out.
[3]
Jacob Sujin Kuppermann: I love dumb dance pop — My favorite Madonna song is “4 Minutes”! This is too dumb even for me. How do you even do that?
[3]
Katherine St Asaph: This kind of pop-trance was already a massively guilty pleasure for me because of the accumulated secondhand disgust of trance purists. “Miracle” has an additional source of guilt in being a pop-trance track by Calvin Harris, who has been around long enough that his releasing a Robert Miles rip this hacky has to be either condescension or a bit. Clearly I have no standards.
[9]
Alfred Soto: Give me more anonymous dance tracks like “Miracle,” which it isn’t but it will do. Jessie Ware would do well to cast off her pearls before the swine who helped perpetuate her approximation of failed euphoria.
[7]
Aaron Bergstrom: We have DJ Sammy at home.
[3]
Joshua Minsoo Kim: What the hell… this literally ends right as I’m starting to believe how good it is?
[4]
Brad Shoup: Feels like I should be rating the progressive-trance remix in my head, one that’s 12 minutes long, shamelessly milks the piano decay and pushes Goulding to match the urgency of the BPM. She’s as centered as ever, despite Harris’s breakneck rave tempo: nearing the end, he tosses out some breakbeat like an anchor. But in my head, it’s still going.
[6]
Thomas Inskeep: I know I should be accustomed to it in 2023, but when I come across someone such as Harris who clearly has zero musical integrity, who’ll do anything for hits — well, it still catches me off-guard. And no one hops from one dance/pop trend to another faster than Harris. (Allow me to remind you that his 2007 album I Created Disco was pretty good!) Which is all to say that I shouldn’t be surprised to hear “Miracle” hopping on the ’90s trance revival bandwagon. He’s got the ability to make it sound right, but by no means does that make this good. I disliked ’90s trance at the time, and find it even more loathsome now as a big-budget no-ideas Hollywood sequel. Goulding could literally be any other female singer, as generic and over-processed as her vocals are here – and she’s never been the most (ahem) distinctive singer to begin with. Truly, almost impressively awful.
[1]
Will Adams: In our 2022 Amnesty post-mortem, I wrote about Romy’s “Strong” and how trance music had been bubbling up in the pop landscape. Fast forward a year, and now we have mainstream acts — Tove Lo, Icona Pop, David fucking Guetta — all dialing up the tempos and the sawtooth synths. I should’ve known Calvin Harris — who has contorted himself to align with the electronic genre du jour for over fifteen years — would hop on the train, but “Miracle” still came as a welcome surprise. I spent better part of my tenure at the Jukebox yelling about how much I love trance, and this is no different. In the tradition of euro-trance classics, there are, at most, two key elements at play: the Robert Miles piano; the lyric “are you too cynical to believe in a miracle?” The rest is routine: the accelerated heartbeat BPM, a feather-light vocal from Goulding, reverb galore, all in service of creating that dream-like state on the dancefloor, when you close your eyes but still feel the strobe lights on you.
[7]
Jackie Powell: I’ll preface this by saying “Miracle” was my top song this year. When Spotify wrapped told me what I predicted was true, I wasn’t surprised. “Miracle” was a song that stuck with me throughout the good and the bad in 2023. It was with me when I couldn’t get out of bed, when I was driving or walking to my destination, when I was exercising, when I was transcribing an interview, and even when I was writing. I’m not the only one who proclaimed that the third Calvin Harris and Ellie Goulding collaboration was an addictive listen. It’s an earworm. It’s meant to be looped. Calvin Harris knows how and when to introduce new sounds, something that happens from the first verse right into the second chorus. Those introductions stimulate the brain and since I’ve listened to the track so many times, I can anticipate each dynamic shift and new sound that arrives. I feel like a conductor when I know exactly when the “boots and cats” percussion finally hits. The lyrics aren’t really groundbreaking on this track and they aren’t supposed to be. To enjoy “Miracle” at its fullest, the appreciation comes in the diverse sounds, and its velocity. Hat tip to Chromatica producer BURNS who provides the listener with a similar type of movement and constant tempo changes following the drop in “Rain on Me.” But that is to say, the most stunning part of the “Miracle” experience isn’t what makes it the most addicting. It’s Goulding’s vocals. Not only does the melody written in give her the freedom to use her voice at its most natural, but this is a song that not many other pop artists could pull off convincingly. You want to know what her voice is going to do next because it’s so unpredictable. This is a track that is exemplary of the fact that Goulding is a generational talent, her unique timbres and range aren’t contained but rather are given a space to play. And if you can’t hear that alongside techno and Eurodance beats, have no fear: Harris and Goulding put out a “Church version” of Miracle, stripping back until this version is truly all about Goulding. There’s a euphoric sound when she’s harmonizing with herself during the second verse. It’s so satisfying and soothing. It’s so stupefying and even a bit moving.
[10]