Dutch producer Joost van der Vleuten has spent close to two decades refining a deep, atmospheric take on progressive music under his Namatjira alias, with releases on labels such as Anjunadeep, Sudbeat and Manual Music along the way. He now makes his debut on Tales Of Romance with the Delier EP, a two-track showcase that moves from the hypnotic, late-night tension of the title cut to the warm, emotive lift of ‘Le Chant Des Mélodies’. Built on patient grooves, rich melodic layers and a real sense of space, the release captures his talent for crafting tracks that stick with you long after the music stops.

We caught up with Joost to talk about how the connection with the label came together, the contrast between the two tracks, his remarkably prolific studio workflow, the producer versus DJ debate, and how his day-to-day work as a nurse in mental healthcare finds its way into his sound.

WWD: Joost, great to have you with us on When We Dip. You are making your debut on Tales Of Romance with the Delier EP. How did the connection with the label come about, and what made TOR feel like the right home for these two tracks?

Thomas and I had already been in touch for a while, so we were familiar with each other and what we were doing musically. At some point, I sent him some new music, and he picked ‘Delier’ and ‘Le Chant Des Mélodies’ for Tales Of Romance. It all happened quite naturally, really.

WWD: The EP strikes a great balance. ‘Delier’ is built on slow-burning, late-night tension, while ‘Le Chant Des Mélodies’ brings in acoustic warmth and reversed vocal textures. When putting together a two-track release like this, do you deliberately aim for that kind of contrast, or did the two pieces simply come together naturally in the studio?

I think it was more coincidence than anything else, to be honest! I didn’t deliberately aim for that contrast when producing the tracks, but in the end, I think those two different sides work really well together. Credit to Thomas as well for being willing to take that chance and bring them together on one EP.

WWD: Electronic music often comes with the quiet expectation that being a producer automatically means touring behind the decks. From your perspective, is DJing still an essential requirement to be a complete artist in this scene, or is it time we separate the craft of the producer from the booth?

As a DJ, people get to know you and recognise you much faster, not just fans but also fellow artists and people within the industry. That makes it easier to build connections and grow your network. You also have two ways of reaching an audience: through your productions and through your performances. As a producer who doesn’t DJ, you only have one of those routes, and that can be quite challenging.

I’ve actually considered DJing in the past, but that would also mean spending less time in the studio, and that’s where I enjoy myself the most. At the end of the day, creating music is what I love doing, so that’s where I choose to put my energy.

WWD: Your consistency in the studio is remarkable. This year alone, you have delivered around a dozen multi-track original releases without losing any depth or melodic weight. How do you keep the ideas flowing at that pace, and how do you avoid creative burnout?

One of the great things about making music these days is that you can do it pretty much anywhere. Even during my holiday in Austria, I had my MacBook with me, and four new ideas were born there. I eventually take those ideas back into my studio to develop them further.

I think that’s one of the biggest advantages of the technology we have today. You don’t necessarily need to be sitting in your studio to be creative.

Whenever I experience writer’s block, I usually try exploring different styles instead of forcing myself to finish something. That’s also one of the reasons why my releases range from deeper progressive house to melodic organic house and even more straightforward melodic house. Switching between those styles keeps things interesting for me and often brings back the inspiration.

WWD: Outside of music, you also work as a nurse. Production and healthcare sound like very different worlds, but both require patience, focus, and a real sense of empathy. Does your day-to-day work in healthcare shape the emotion or the pacing you bring into your tracks?

I think my personal life and how I feel definitely influence the music I make. During the period when I was at home dealing with depression, my music became much more melancholic. Looking back, I can really hear that in my productions.

Now that I’m back working as a nurse in mental healthcare, I notice my sound is changing again. Lately, I’ve been producing more melodic house, and some of those tracks are finding their way back to labels I released on a few years ago.

So yes, I think there’s definitely a connection between how I’m feeling in life and the music that comes out of my studio, even if I’m not always consciously aware of it while producing.

WWD: With the Delier EP out now, what is coming up next for Namatjira as you look ahead through the rest of the year?

There’s still quite a bit of music coming up! On November 7th, my track ‘Novaya’ will be released on Amesch, the label run by RIGOONI.

I’ve also got EPs coming up on Stellar Fountain and 90watts, along with a release on Plaisirs Sonores.

And something I’m particularly excited about is a track I’ve recently signed to a well-known label I’ve worked with in the past. I can’t reveal too much about that one just yet, but it’s definitely something I’m looking forward to!

Apart from that, I’m constantly working on new music, so there’s plenty more to come!

Namatjira: Instagram / SoundCloud