Paul Frick says the aim on Miami was to produce something "spontaneous... dark... rough." Embracing emotive vocals and funk's physicality may seem an obvious way of doing that, but those tracks (like "Ocean Drive", which harks back to their propulsive acoustic-techno), are simply light shading across a far stranger and much richer album than anything BBF have previously delivered. The beautiful opening track, "Miami Theme," is ten minutes of funereal mourning, thanks to Erika Janunger's operatic vocals and a storm of smashing pianos. "Plastic Like Your Mother," which features Frank Ocean producer Om'Mas Keith, is an atmospheric, strung-out fugue that suddenly flips into leftfield electronic-pop mode. "Fantasie Mädchen" is a scratchy, jittery, elusive mumble of a tune with Einsturzende Neubauten's Gudrun Gut on vocals. Like dOP in avant-jazz mode or Villalobos at his most fractured, it has no obviously likeable qualities, yet it's still deeply intriguing.
As the slightly more orthodox closing track illustrates, Brandt Brauer Frick's synthesis of techno and highbrow music theory has evolved. How far they can take it is the question. Miami still isn't their masterpiece, but it suggests they have one in them.