James Supplanter is an emerging name in the tech-house scene, known for his distinctive sound that blends rich percussive textures and hypnotic rhythms. His latest single, “See the Danger,” out now on Unlearn Records, showcases his knack for creating fresh and eccentric electronic music. Drawing inspiration from retro samples, such as the iconic Speak and Spell toys from the ’80s, James has crafted a track that stands out for its uniqueness.
With a background influenced by Birmingham’s vibrant electronic music scene, James’ sound is a product of both his early exposure to house music and the city’s strong but evolving techno heritage. His collaborations with labels like Unlearn Records and artists like Doc Brown have pushed him to refine his craft, emphasizing tonal contrasts and texture to elevate his productions. His approach to genre and production has grown more strategic over time, moving away from spontaneous creations to a more calculated style, aimed at specific labels and audiences.
Your new single, “See the Danger,” is set for release through Unlearn Records. Can you tell us about the concept behind this track? What inspired the vibe and structure of the production?
The inspiration for the track came from some samples I had from the old Speak and Spell toys from the ’80s. I wanted vocals that rhymed and picked the “stranger” and “danger” samples from the folder. The story of the track developed from there—that strangers are dangerous. In the final version of the track, I mainly used other vocals, but there are still a few moments with the Speak and Spell samples.
The vibe came about naturally, and I didn’t overthink it. The structure of the production was largely influenced by the label, who gave me feedback on certain sections. This led to me producing more bass variations to create more contrast between sections, ultimately resulting in a better track.
Unlearn Records is known for showcasing innovative tech-house sounds. How does “See the Danger” align with or challenge the label’s style, and what drew you to release it with them?
I think “See the Danger” fits nicely with the label’s style. It sounds distinct and has an eccentricity about it. The track feels fresh—there aren’t any prominent samples you’ve heard elsewhere or from platforms like Splice or Loopcloud. While those resources are great, relying on them can make your tracks sound similar to others. I think I’ve created something unique that aligns with what Unlearn is all about.
My attention was first drawn to Unlearn Records when I listened to Doc Brown’s “Set the Record Straight.” I loved the call and response in the bass and this odd morphing, warping sound he had designed. It felt aptly named. Then I heard tracks like “Looking 4 Something” by Mitch Dodge & Seek-One, which further solidified my interest in Unlearn Records and wanting to be part of it.
You’ve experimented across techno, deep house, and tech-house. What’s your process for determining the genre or feel of a track? Does it evolve naturally, or do you approach the studio with a specific sound in mind?
Previously, it evolved naturally, and I didn’t consider the genre or vibe. Now, I decide on the genre from the start and have specific labels in mind that I’m aiming for. This informs the vibe of the track I’ll create and makes pitching the tracks less arduous than making whatever I want and then trying to find a suitable label afterward. Things have become more strategic.
How do you approach crafting a setlist, especially when moving between genres like acid and deep house?
I start by selecting the genres and then the tracks I want to play within those genres. There are usually a few songs in your library that naturally bridge the gap because they have elements common to both genres. Those are the songs I use as transition tracks, strategically placed throughout the mix. When organizing my music, I add tags like “MWW with Acid” or “No Vox in Break,” which makes the playlisting process easier.
Paying attention to the key of the track, selecting less busy sections, and well-timed phrasing also help in making the transitions smoother.
The tech-house scene has been evolving rapidly. From your perspective, where do you see it heading, and are there trends you’re particularly interested in exploring or pushing against?
I’m more inclined to push against trends. I’m more interested in doing my own thing, maybe even setting a trend, rather than aligning with one. If you look at tech house from the 2000s and 2010s and compare it to now, it’s evolved considerably, especially with the introduction of synths featuring powerful modulation matrices and intuitive GUIs. I like the trend of incorporating more natural-sounding instrumentation and blending it with electronic elements.
My goal is just to create something, and whether it fits into a trend or sounds more leftfield is usually unintentional. But I prefer to push against trends rather than follow them. Being a little different is my aspiration.
Given your background in Birmingham’s electronic scene, what role does your hometown play in influencing your sound? Are there any particular local artists or clubs that shaped your early style?
Where I come from has definitely shaped my musical tastes. Birmingham had a strong techno scene, but by the time I started clubbing, techno wasn’t really played—it had become more of a European genre. The electronic scene here was dominated by drum and bass and house music. I enjoyed drum and bass, but I preferred house music because the four-on-the-floor rhythm was better for dancing.
The club that influenced my tech-house tastes the most would be Lab11, particularly its late-night party “Afterdark,” where the DJs always played driving tech house with strong percussive lines and hypnotic rhythms. That party always had great music, and I want my style to align with that vibe.
ADE and other industry events give artists platforms to connect and collaborate. How has networking within these spaces impacted your career trajectory? Any memorable collaborations or insights from these experiences?
The biggest insight I’ve gained from networking events is that life in the music industry is so much better when you’re not an island. There’s immense value in speaking with your peers and building relationships in the industry. Like how trees grow faster when planted close together, you learn quicker and gain more opportunities by networking and maintaining a presence—it’s good to be seen.
As an artist, what does ADE represent for you in terms of networking, visibility, and influence within the global electronic music community?
ADE is an incredible opportunity to connect with industry professionals, dance music producers, and fans from around the world. It represents a unique chance to meet people from diverse backgrounds and with varied skill sets, which can drive change and growth in my own work.
Collaborating with Unlearn Records and Doc Brown, who has a clear vision for the label’s sound, likely adds a unique layer to the creative process. How has working with them influenced your production on “See the Danger” and your approach to music in general?
Working with Doc Brown and Unlearn Records highlighted the importance of refining the details in the background of a mix, as well as the necessity of adding variety, evolution, and tension to give a track more impact and interest.
They encouraged me to add more tonal contrast to emphasize the track’s progression and more texture to achieve a thicker mix. These are concepts I’ll continue to incorporate into my music moving forward.
What’s next for you after the release of “See the Danger”? Any shifts in style, new collaborations, or projects in the pipeline?
I have several projects in the works. I’m planning to self-release a couple of leftfield deep house tracks and send a few tech-house tracks to different labels. I do plan to shift my style from “See the Danger.” Now that the colder, darker months are here, I’ll be creating music that matches that mood, shifting to deeper, moodier genres like minimal deep house and possibly experimenting with some two-step garage.