I'd actually argue that Daze is at his best when he's narrowly focussed, applying straightforward parameters to punchy techno and electro. There are many recent examples. "Silicon," "Rhythm Box" and "Hex" all showed how comfortable he is working a single unfussy groove to its conclusion. "When The Freaks" could have come from the studio of Gesloten Cirkel, an artist who gets incredible results out of tightly controlled formulas.
Miami features five such tracks, three of which work, two of which don't. The title track could actually pass for Gesloten Cirkel—it's a tough, acidic electro cut with the same heavily reverbed snares the enigmatic producer uses so devastatingly. "BRAV," produced with the Berlin artist Jägerverb, is also simple and effective. There's another breakbeat here but this time the mood is bright, thanks in part to a pretty arpeggio that keeps things moving. "Aqua," a collab with Kevin McPhee, is slower and of the Drexciya school—you can tell by the way the slippery synth complements the rhythm. The two versions of "Pop" have less clarity. Both have the same overbearing bassline, which upsets the balance between the track's others elements. A sassy male vocal only adds to the clutter (Daze is fond of vocal phrases but doesn't always nail them). Daze might not be ripping up the rule book in the way he thinks, but there are three examples here of why that probably doesn't matter.