DJing in 2009 Minimal techno first emerged in the early 1990s. The development of the style is often attributed to a so-called "second wave" of American producers associated with
Detroit techno. According to
Derrick May, "while the first-wave artists were enjoying their early global success, techno also inspired many up-and-coming DJs and bedroom producers in Detroit". This younger generation included producers such as
Richie Hawtin,
Daniel Bell,
Robert Hood,
Jeff Mills,
Carl Craig,
Kenny Larkin, and
Mike Banks. The work of several of these artists evolved to become focused on minimalism. Robert Hood describes the situation in the early 1990s as one where techno had become too "
ravey", with increasing tempos leading to the emergence of
gabber. Such trends saw the demise of the
soul-infused techno that typified the original Detroit sound. Robert Hood has noted that he and Daniel Bell both realized something was missing from techno in the post-rave era, and saw that an important feature of the original techno sound had been lost. Hood states that "it sounded great from a production standpoint, but there was a 'jack' element in the old structure. People would complain that there's no funk, no feeling in techno anymore, and the easy escape is to put a vocalist and some piano on top to fill the emotional gap. I thought it was time for a return to the original underground." Daniel Bell has commented that he had a dislike for minimalism in the artistic sense of the word, finding it too "arty". By 1994, according to Sherburne, the term "minimal" was in use to describe "any stripped-down, Acidic derivative of classic Detroit style".
Los Angeles-based writer Daniel Chamberlin attributes the origin of minimal techno to the German producers
Basic Channel. Chamberlin draws parallels between the productions by Richie Hawtin,
Wolfgang Voigt, and
Surgeon with
phase music techniques used by American minimalist composer
Steve Reich. Chamberlin also sees the use of
sine tone drones by minimalist composer
La Monte Young and the repetitive patterns of "
In C" by minimalist composer
Terry Riley as other influences. Sherburne has suggested that the noted similarities between minimal forms of dance music and
American minimalism could easily be accidental. He also notes that much of the music technology used in
electronic dance music was traditionally designed to suit
loop-based compositional methods, which may explain why certain stylistic features of minimal techno sound similar to those in works by Reich that employ loops and pattern-phasing techniques. == Style ==