Hooking up with 4AD wasn't the only new move Berry made with Love. She also recruited a wide number of musicians to help her flesh out her songs. Christopher Berry again played guitar on most of the tracks; avant-garde saxophonist Lol Coxhill popped up here and there; cellists Martin McCarrick and Audrey Riley similarly stepped in; and Levitation members Terry Bickers and Laurence O'Keefe guested on guitar and bass, respectively. Meanwhile, Berry didn't return to the straightforward pop/rock of Firefly, instead letting the ghostly arrangements of Below the Waves be her guide. Peter Walsh worked behind the boards as engineer, though it sounds like Berry clearly had final say regarding the album's production. A singular example of Berry's talent is her radical reworking of Bob Mould's Hüsker Dü nugget "Up in the Air," which is transformed here into a serene, beautiful reflection on regret; Coxhill's soft sax contributions quietly add to the haunting beauty of the performance.
Again working with producer Hugh Jones – and, as always, accompanied by her brother Christopher on various instruments, along with past veteran guests Jon Brookes and Laurence O'Keefe – Berry creates another beautiful, subtle collection of songs on Miracle. The slow build of "The Mountain" makes for a fine start. Beginning with the quietest of pluckings, the song gradually adds Berry's sweetly cool voice and Anne Wood's scraping, swirling violin to the mix. It retreats just a bit at the end, imbuing Berry's tale of childhood remembrance with a new, fragile appeal. Her blend of folksy, rustic touches and more modern approaches comes very much to the fore on Miracle, though the former element feels the stronger here. "Holy Grail" has a slow, measured percussion beat that almost sounds like something off the Velvet Underground's third album, but it's Anne Wood's stringwork that proves the song's standout. Other numbers where Wood gets to demonstrate her considerable chops are "Queen" (which ends with a fine duet between Berry and her brother on mandolin) and a cover of the Youngbloods' "Darkness, Darkness." Of course, Miracle is still very much Berry's album, and the concluding track, "Northern Country," leaves no doubt of that.