Who, or what, exactly is a Matured Sinner? In the shadowed, suburban fringes of Athens, the city is currently exhaling after years of high-octane techno. This makes way for a more eclectic underground. It is the sonic embodiment of nocturnal impulse and daytime regret. Specifically, it is a collaborative brainchild between two key artists: Swedish producer Johan Blende and Athenian stalwart George, better known as NTEIBINT.
Coming together for a special release to celebrate 25 years of the Belgian indie-dance powerhouse Eskimo Recordings, the pair first crossed paths in a North London park over a decade ago. Now reunited in the Mediterranean heat, they have crafted what they wryly dub “the best Greco-Norse creation since ABBA stole a bouzouki.”
Today, we are premiering Mist 9000, the inaugural cut from this alliance. The track started with a rough rhythm that Blende brought to George’s studio. It is a masterclass in analogue tension. It sounds distinctly like Gent. The sound specifically references the Belgian city’s 9000 postal code where Eskimo Recordings was born. Built on pulsating arpeggios, a throbbing bassline, and distressed synths, the track writhes in a state of composed, dancefloor-ready ecstasy.
It sets the tone for a self-titled EP steeped in late-night sleaze and tongue-in-cheek hedonism. Across the upcoming releases – including the hypnotic, cult-referencing title track and the chugging, frayed-at-the-edges funk of Bright Bum – Matured Sinner leans heavily into the liberation of working. This work happens while the rest of the world sleeps. Nobody requested they keep going, but like humanity itself, they must.
As they prepare to unleash Mist 9000 today, 29 May, we caught up with Blende and NTEIBINT. We discussed the Athenian nightlife, studio chemistry, and marching toward musical oblivion. The full EP is expected this July.
Matured Sinners is available here
Interview with Blende & NTEIBINT
George, as a native Athenian, how would you describe the current electronic and nightlife scene in Athens? How has the city’s unique energy shaped the raw, after-hours vibe of this new project?
George: Athens always lived and breathed dance music. We are currently moving away from high-energy techno parties (which is a good thing!) and smaller, more eclectic venues are starting to appear in the scene. The sound of Matured Sinners came from late-night studio meetings that Johan and I had in the suburbs of Athens. Time is something relative there.
And Johan, freshly relocating from Sweden, how does Athens look and feel through your eyes? Has immersing yourself in such a different climate and cultural rhythm shifted the way you approach your production compared to your time up North?
Johan: I left Sweden about 25 years ago, so I’m not sure how fresh it is still, but compared to Sweden and then the UK where I spent most of the past 25 years, it’s been a refreshing change indeed. If I was a bit younger, I’d probably take advantage of the nighttime side of it more often. In my experience, there are not many better places on the planet than Athens to enjoy those things. The city rarely sleeps.
I think though that the relaxed atmosphere here has influenced my approach to music making—I overthink things a lot less for the past few years since moving here and things flow a bit more naturally. Having said that, that could also be down to maturing!
You both share a history with Eskimo Recordings. How did being part of that same label family lay the groundwork for this collaboration, and what makes it the right home for this specific sound?
Johan: We possibly wouldn’t have even met if it wasn’t for both being on Eskimo, so at least that helped get us here for sure. Although this wasn’t in Greece, I met George maybe 10-15 years ago when I was living in London and we met up with a group of friends in a park in Highbury in North London. Our minds work very similarly though as I see it, and George has helped me on occasions throughout the years just to re-think the way I structure a piece of music, which has been very helpful to me at times. Having similar tastes also helps, of course.
You mentioned exchanging “not necessarily tender compliments” during the making of Bright Bum. How do you navigate creative clashes in the studio, and who usually wins the argument when an idea is on the chopping block?
Johan: That sentence was just to create a bit of drama, haha. I wouldn’t say there’s been a lot of clashes during our sessions together, really. Mostly I think at the end of it all we both agree on what makes the cut and what shouldn’t; not all ideas work out, and rightfully so.
The concept of succumbing to “night time activities and day time regret” is central to your origin story. Do you find that the best electronic music always comes with a slight edge of sleaze or a hangover?
Johan: I’ve personally always had a slight desire towards nighttime composing as it’s more relaxing and peaceful in my head. There’s something quite liberating to know that the world outside is asleep while you’re trying to create the opposite. Daytime regret is more from when we bring some alcohol into the studio, which can be a creative tool at times, as well. So, yes.
You joke that nobody requested you to keep going, but like humanity itself, you must. What is the ultimate vision for Matured Sinners as you continue rolling towards oblivion?
Johan: Drudgery, until it takes its toll. With some enjoyable moments in between, hopefully. Like humanity itself.
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