Nothing Left Of Us

by Klint

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Unless your idea of a good night in is poring over the small print on IMDB there’s a good chance you’ve not heard of KLINT, still there’s a much better chance that on listening to the band’s debut album Nothing Left of Us you’ll be struck by a strange sense of familiarity. After all despite their relative anonymity KLINT have spent much of the past twelve years soundtracking the antics of cockney gangsters, Nazi soldiers and New York fashionistas in films like Guy Ritchie’s Snatch, David Frankel’s The Devil Wears Prada, Martin McDonagh’s Seven Psychopaths and most recently George Clooney’s The Monuments Men.

Now though it’s time for KLINT to stretch their wings. Packed full of smoke wreathed bass lines, rattling percussion that sounds like dice ricocheting off a casino table in a Scorsese classic and the kind of monolith sized breakbeats destined to be fought over for years by hip-hop producers, Nothing Left of Us is both the band’s first full-length feature soundtrack and a record that stands up an artist album in its own right.

Like the best soundtrack composers KLINT’s music not only works to heighten the tension or drama on screen but isolated and taken away from its source acts as a springboard to your own imagination. Deeply evocative, Nothing Left Of Us swiftly becomes the soundtrack to your own personal movie providing instant access to a world where you’ll find yourself wondering if that car behind you has maybe, just possibly, been following you a couple of turns too many.

The influence of the likes of Morricone, Shifron and Badalamenti shines throughout the album but filtered through a record collection that includes the likes of Can, Portishead, The Stone Roses. The result is a set of songs that could soundtrack both a botched getaway on the isle of dogs or a botched rave on Spike Island. Where tracks like Room 26 provide moments of pure claustrophobic unease, I Don’t Think with its baggy drums, trebly guitar and uplifting organ swell would have done Screamadelica proud whilst the grinding funk instrumental of Poppy with its shimmering guitars, uplifting rhodes piano and dusty fingered breaks sounds like a lost Massive Attack classic.

Throw in the Dick Dale meets Spaghetti western raja of Sissy Step, the certified hi-octane cockney funk of Diamond and 3 Rabbits taut percussion, redolent of the best paranoid ‘70s thrillers, and you have an album to immerse yourself in, again and again, and populate with your own fevered dreams. Of course all good films need a dramatic, if not necessarily happy, ending and with Exit Crush KLINT provide that in spades, an elegiac, emotional farewell whose twanging guitars and massed banks of synths will have you tearing up as the screen fades to black and the credits roll.


released January 9, 2014



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