Camiel Villa [Interview]

Dutch electronic artist Camiel Villa steps into the spotlight with his debut album ‘A Way Out’, released on the ever-evolving Cinematique label. Blending the hypnotic drive of melodic techno, the emotional pulse of progressive house, and the atmospheric depth of downtempo electronica, Villa crafts a cohesive and cinematic listening experience that feels both introspective and dancefloor-ready. It’s a bold introduction to an artist clearly unafraid to explore the boundaries of genres.

Across the album’s diverse tracklist, Villa showcases a refined ear for melodic storytelling including collaborations with Kagu and Swanborn. Whether it's a haunting vocal, a brooding synthline, or a percussive twist that shifts the energy in surprising directions, ‘A Way Out’ is a like a beautiful journey. Villa demonstrates his ability to balance emotional weight with rhythmic momentum, inviting listeners to not just hear the music, but feel it.

‘A Way Out’ isn’t just an album, consider it as an invitation. A gateway into Camiel Villa’s world of textured sound design and carefully constructed grooves. With this impressive debut album, he signals not only where he has come from, but where he’s heading to: towards a space where emotion and movement exist in perfect harmony.

Progressive Astronaut caught up with Camiel to learn more about the release of 'A Way Out', growing up in the Netherlands, DJing and much more. Enjoy!

Hi Camiel, thanks for talking to us today. How has your start to the year been so far?

Hi, thanks for having me. The past few years have been all about rediscovering my sound and shifting toward a more melodic direction. The album A Way Out is the result of that journey, and I’m super excited that it’s almost here. So the start of this year has been all about creating, connecting with new people, and now finally getting ready to share it all with the world. It really feels like everything’s falling into place at the right moment.

What is a track or tracks which have been released this year that impressed you the most and why?

Fehrplay with Cymatics is the kind of song that has it all. The energy, original melody, sound design and, above all, the atmosphere are on another level.

What is a song/track you’ve never stopped listening to since childhood? And why has it stuck with you this long?

It has to be Born Slippy by Underworld. I discovered it through Trainspotting when I was way too young to understand half of what was going on, but the music stuck. It’s hypnotic, emotional, messy and somehow still makes total sense.

How did growing up in the Netherlands affect your music taste and direction into becoming a DJ and producer?

When I was 14, I heard a hardstyle set by Lady Dana at Mysteryland (2002), and it completely blew me away. Once I was old enough to go out on my own, I started visiting the local club every week, as well as all the major festivals. The Netherlands has so much to offer in this scene and has produced so many inspiring artists over the years that, for me, it just felt natural to try and become part of that community.

Who from the Netherlands inspired you the most early on and why were they inspirational for you?

After my hardstyle era, I fell in love with house music. Benny Rodrigues was (and still is) the all-time champion in that area. I don’t know anyone else with such a feel for doing something different every time and still hitting the right spot. Samuel Deep and others from Slapfunk Records, from my hometown Utrecht, were my introduction to the more underground vibes.

For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you?

I started by emulating others too, and I kept making that mistake for quite a while. When you try to recreate a sound, only two things can happen: either you succeed and end up with an unoriginal track, or you don’t — and the track doesn’t sound the way you intended. It taught me the basics, of course, but ever since then it’s been more about feeling, and how to translate that into a track.

What was the music genre you discovered first before you turned to electronic music, and what made you continue with the latter?

In my mid-teens, I was all over the place. From pop to rock to hip-hop. But the moment I heard my first hardstyle tracks, I was instantly hooked.

Your latest album project and first for Cinematique entitled ‘A Way Out’ is set to drop, please tell us about the release and what type of vibe you set out to create for it.

I’d wanted to make an album for a long time, and it finally felt like the right moment. Normally, I create tracks with a single purpose in mind, most often thinking about how they’d work in a club. That’s a lot of fun, but it can also start to feel a bit repetitive after a while. At the same time, I was still finding my way in the melodic genre, and this album became a way to capture that journey. My mind can be quite chaotic at times, and music is the one thing that brings me clarity. So in the end, it was about giving myself a way out and hopefully creating something beautiful along the way.

Tell us how the album began to take shape? Was there an initial goal of writing an album or did this happen organically in a way?

It all came together pretty naturally. I already had two tracks done before the idea of making a full album really took shape. When Cinematique gave me the green light, I just kept going and ended up writing most of the tracks in order, from the first to the last. I wanted to start soft, experience with combining styles and go out with a bang.

The album is very much a journey, almost like building a set in a way, with more mellow cuts making up the first half to more club focused material during the latter half, so I’m curious which tracks have gotten the most play in your sets?

Both In The Zone and Troublemaker are doing well live. In The Zone stands out by being a bit different, with a hardstyle-like build and drop, while Troublemaker has more of a main stage vibe — just a solid, tight club track.

Tell us why it was important for you to express your thoughts, ideas and feelings in this style of a long player which somewhat builds energy towards the end of the album.

I wanted it to touch different parts of the spectrum — the kind of record you’d play in your car for the emotional vibes, something you can get lost in. And by blending different sub-genres along the way, it slowly builds toward this euphoric energy that makes you feel like going out clubbing somewhere.

Are there any inspirations you would cite for this particular album, or even certain tracks included there?

Both Trentemøller’s The Last Resort and Paul Kalkbrenner’s Berlin Calling had a huge impact on my early musical development. The ambient vibe of The Last Resort and the raw, club-focused energy of Berlin Calling really shaped how I approached the idea of making an album in the first place.

But when it comes to specific tracks, most of my inspiration actually comes from classical music. There’s so much to learn from the great musical minds of the past century, it’s an endless well of inspiration. I even used a small snippet from Bach’s Mass in B Minor in the track Unknown Mass.

What are your thoughts now looking back on it that’s done and ready to be released?

Mostly just excitement. I try to stay away from thoughts like ‘this could’ve been better’ or ‘why didn’t you change the bassline like you wanted to.’ I’m a real perfectionist, and it’s easy to get caught up in that mindset. But I’m choosing to embrace the result for what it is and just be proud of the final product.

How did you end up with the final track selection? And how difficult was it deciding on the flow from a listener’s perspective?

I ended up having to leave out one collab because of a release conflict, but aside from that, I included all the tracks I had in mind from the start.

Give our readers a look into your studio? What is your current setup? And what studio tools featured heavily in the writing of ‘A Way Out’?

My setup is super minimal. Just a piano, a pair of headphones, and a laptop. Most of the ideas started behind the piano and later found their way into my laptop, where I built the full tracks from there.

How would you feel about these tracks being remixed? And are there plans for this?

They’re already scheduled! Remixes by Cyantist, Susan Right, and Samuel Dictus are coming out on a remix EP in August. I’ve never had any of my tracks remixed before, so I’m really looking forward to hearing everyone’s unique take on them.

Do you think the digital era changed the way we perceive artist albums? Do they still carry the weight they once did or should? Is this something that perhaps depends on who (record label) is releasing it as well?

Definitely. Back in the day, you’d just put a vinyl on the turntable or a CD in the player and let it play from start to finish. Now, every track ever made is just a few clicks away, and I’ve noticed I don’t listen to full albums as often myself. With radio edits and short-form content, people are used to getting new impulses every few minutes, so holding someone’s attention has become a real challenge. But I still wanted to do it the old-school way. Just extended versions, no shortcuts.

And of course, labels play a big role too. If you release on a Beatport Top 100 label, you’ll naturally reach more listeners, that’s just how it works. But I’m really happy with Cinematique. They gave me full creative freedom and still managed to get the first EPs into the hands of lots of great people.

I’m curious how active you are as a DJ? How often do you get a chance to play out? And please tell us your approach to the craft.

Not as often as I’d like to. On average I play about once a month, and I always find myself fully inspired in the studio for days afterwards. It would be amazing to have that energy every weekend.

I prepare my sets with a lot of care and try to get a feel for the vibe beforehand. But it’s always a surprise what happens live. Sometimes, after just two tracks, it doesn’t feel right and I just follow my gut instead. The crowd’s energy really guides where things go, when the connection is there, it almost feels like the set builds itself.

How has being a DJ influenced your view of music, your way of listening to tracks and perhaps also, your work as a producer?

Playing live gives you that instant feedback — it shows you what works in a set and what doesn’t. It’s definitely shaped the way I listen to music, especially when it comes to what elements stand out and translate well in a club. So I usually picture where I want the track to end up, and just build from that idea.

Current top five tracks in your sets?

Djolee, Gespona - Carnival

Cyantist - Black Flame

Rebūke - Along Came Polly (Konstantin Sibold, ZAC, CARMEE Remix)

Carlo Whale, Thee - Elation

Olivier Giacomotto - Kabrab

If you could set up an event with a line-up of five artists of your choice, who would you book and what set times would you ascribe to the artists?

Assuming it’s fully packed from start to end:

22.00 - 0.00 Ben Böhmer

00.00 - 01.30 Trentemøller

01.30 - 03.00 Clawz SG

03.00 - 04.30 Stephan Bodzin

04.30 - 05.00 Joris Voorn

05.00 - 07.00 Miss Monique

If you were not a DJ/Producer what do you think you’d be doing with your life? (Something not music related.)

Software developer is something I still do.

What’s something people do not know about you?

I used to work as a nurse and do competitive triathlon.

If you are not DJing, producing in the studio or socializing at clubs, where do we find you? And doing what?

Probably riding my bike somewhere in nature, having a nice dinner with my girlfriend, or playing some board games with friends.

What are some of your favourite TV series? Both all time and recently, what have you been enjoying lately?

I think I’ve watched How I Met Your Mother about eight times from start to finish. But Dark, Better Call Saul, and Suits are definitely up there too.

What does the remainder of 2025 hold for you? Anything you can share with us?

The absolute highlight will be the album release party. All the artists involved in the album and the remix EP are joining in for one big night of celebration. I’ve also wrapped up a bunch of new tracks and got some really good feedback, so I’m looking forward to sharing more music, creating new memories, and hopefully turning those tracks into special moments, both on and off the stage.

'A Way Out' is available now via Cinematique: https://tinyurl.com/epf3td8c