It’s the early 1990s, and Daniel Bell, a Canadian music producer who is now living in Detroit, is relatively well-known for having been a member of the electronic music trio, Cybersonik. Given that his production preferences are not absolutely consistent with the group’s output, which is closer to a European rave soundtrack, he decides to embark on a new, solo project. As Bell releases his forthcoming productions under his new artist pseudonym, DB-X, the stripped back tone of his tracks such as “Bleep”, will contribute to the conception of a newly emerging subgenre of techno, minimal.

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