NINJA TUNE 4-LPs ZEN-129: The Qemists - Join The Q - UK 2009 SEALED
  C$   35
  $   25

 


C$ 35 Sold For
Jan 9, 2020 Sold Date
Oct 6, 2017 Start Date
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Background -

The Qemists are an electronic rock band from Brighton, United Kingdom. They are signed to Amazing Record Co., an indie record label based in the UK. The band have a separate deal with Beat Records for distribution in Japan, and announced in February 2016 that they had signed a North American deal with Detroit-based label, FiXT Music.
The Qemists were originally the drummer, bassist and guitarist in a rock band where they spent a lot of time touring UK and Europe as well as spending a lot of time in the studio. During this time in the rock band in the late 1990s, they acquired an interest in drum and bass and some of the group's early efforts started to get airplay. For many years they were performing in the rock band as their day job whilst producing and DJing drum and bass at night, and this conflict of interests led to the fusion of the two styles to form The Qemists sound that is known today. They had previously worked as live sound engineers for Basement Jaxx, Kano and Lady Sovereign.

Their debut release on Ninja Tune was a remix of Coldcut's "Everything Is Under Control" which was supported by Zane Lowe, Coldcut and Pendulum.

Their first single, "Stompbox" appeared on the soundtrack for the film Jumper. "Dem Na Like Me" & "Your Revolution" are used in Clay Porter's mountain bike movie "3 Minute Gaps" (2011). "Stompbox" and "Tom Cat" appeared in the action movie Blitz (2011)

In 2009, they supported Enter Shikari on their World Tour, and underwent their own headlining UK Tour.

In November, 2015 they signed to Amazing Record Co., planning the release of Warrior Sound, their third studio album, on March 4, 2016.

With the band's origins in heavy rock music and their fusion of electronic rock and drum and bass, The Qemists are often compared to bands such as Pendulum and The Prodigy.
Join the Q is the debut studio album from British band The Qemists. The album was released on 2 February 2009 under record label Ninja Tune.

Hyped as the future of the "back to the past" nu-rave movement, the Qemists certainly construct some of the most energetic breakbeats of the late 2000s. They gleefully plunder the past 20 years of classic dance music, jumping from jungle breakbeats to hardcore pulses, never letting the same drum program alone for more than 30 seconds at a time. The staple, if they have one, is the rolling drum'n'bass variety that will sound familiar to many a fan of classic techstep from the late '90s, all of it overlaid with a blanket of digital grime. The sound and the energy is perfect for fans of no-attention-span dance, but, surprisingly, pop as well, with a slick production that bridges the gap between classic British dance and mainstream pop. (Who else could make Ipecac's Mike Patton sound like Maroon 5's Adam Levine?) Despite the unmissable riffs and constantly rearranging rhythms, it's clear from dedicated listening that Join the Q will enjoy a long shelf life too; it's not for nothing that the record appeared on Ninja Tune, that paragon of quality in post-rave electronica. - John Bush, Allmusic                 

Thanks to all-conquering Australian stadium dance outfit Pendulum, the spheres of drum 'n' bass and rock 'n' roll have never been closer. This is good news for The Qemists, three UK musicians lured away from their initial callings of guitar, bass and drums by the jump-up appeal of party drum 'n' bass. And while it might not be quite such good news for d 'n' b purists, who are probably getting a little tired of seeing the complexities of their beloved genre steamrollered into headbang-friendly rave rock that's every bit as subtle as a fretboard in the face, it's hard to deny Join The Q achieves a pretty impressive, rollercoaster-like momentum.

Within a deceptively simple framework of hard rock and hard beats, however, The Qemists give themselves a fair amount of room to manoeuver, inviting in a strong and varied line-up of guest vocalists and skidding through diverse genres without ever applying the brakes. The propulsive, metal-tinged Lost Weekend finds Faith No More/Fantomas frontman Mike Patton at the wheel, his wicked croon distorted by a string of effects, while S.W.A.G begins as syrupy trip-hop, sung by Alabama 3's Zoe Devlin Love, but soon picks up on tumbling drums, pneumatic bass and stabs of evil acid synth.

Not all of it works, mind. Dem Na Like Me, featuring a cameo from Wiley, is a highlight on paper, but the London grime MC sounds awkward on such stiff beats, and it doesn't help that he's recycling lines from earlier freestyles. Sometimes, too, the relative scarcity of subtlety or quiet-loud dynamics risks leaving even the most seasoned dancefloor warrior longing for the brief respite of the chill-out room. Still, it's easy to imagine a good amount of Join The Q wreaking havoc on the right crowd, and fans of Pendulum should check this out without delay. - Louis Pattison

This debut album for Brighton-based producers The Qemists smacks of the rock and drum & bass hybrid that pushed the likes of Pendulum too far centre-field, but it’s subtler than the Aussie troupe’s dance-rock racket – and more coloured and more intelligent. Working with vocalist Mike Patton, grime master Wiley and Beardyman, in amongst a host of D&B names – Jenna G, MC Navigator and Friction’s MC ID – The Qemists stir in many different dancehall, electro, hip hop and grime flavours. Wiley brings the filth, Alabama 3’s Zoe Devlin Love provides the sublimely sweet vocals, and The Qemists get the drops in. A live outfit surely beckons. - Rosalie Dubal

Brighton-based trio The Qemists launch into their debut with all the full-throttle energy their live shows have been famed for.

Their rock and rave splice is not a revolutionary combo; the fast and furious power you can achieve by mashing up these two frenetic genres has of course been harnessed by Pendulum and the like.

But Join The Q stands out from the crowd because it’s superbly well-crafted, thanks, surely, to the fact that Dan Arnold, Liam Black and Leon Harris started out as a rock band.

Stomp Box’s tumultuous guitar riffs and breakneck drumbeats set the tone for this set of hard-core dance tracks, powered by the particle-accelerator rush of drum’n’bass at its dirtiest but given texture and richness thanks to the skilful layerings of rock, rap, electro or bashment influences that merrily increase the mayhem.

The range of impressive guest vocalists includes alternative rock legend Mike Patton on the mosh-inducing Lost Weekend, drum’n’bass stalwarts MC Navigator (rinsing it out over a Prokofiev sample, no less), Jenna G and Friction’s MC ID, Alabama 3’s Zoe Devlin Love and irrepressible beatboxer Beardyman.

The standout track, though, must be forthcoming single Dem Na Like Me, a slab of warped grime for which The Qemists meld a speaker-devastating d’n’b bassline and a winding, vaguely Afro-beat guitar riff to eski king Wiley’s assured, aggressive flow. This is music that demands you find a dance floor, and fast. - Siobhan Murphy

To fully understand the Qemists’ debut album, Join the Q, it is important to note that the trio did not begin as a drum and bass DJ collective.  They began as a rock band—guitar, bass, and drums.  So while other drum and bass acts such as Pendulum have attempted to combine drum and bass with rock, the Qemists have an inherent understanding of typical rock structure, and thus, their genre blending seems much more natural than their contemporaries’.  Join the Q manages to stay almost uncompromisingly true to both genres it emulates.  With guest appearances from both ends of the spectrum, including the versatile Mike Patton of Faith No More fame and grime superstar Wiley, the Qemists make their music fit very different vocal styles, with success on nearly every track. 

Join the Q is relentlessly aggressive from beginning to end.  The two opening tracks are more a twisted, electro metal than drum and bass.  The drum machine feels like a real metal drummer, with double bass accents driving the beat forward and changing from the regular tempo to double and half tempo with ease.  The synth sounds are made to sound as much like guitar and bass as possible.  “Stompbox”  jumps from Rage Against the Machine jam sessions to frenetic metal on the fly, while “Lost Weekend” takes that frenetic metal and puts Mike Patton’s freakish wails over the top of it.  Still, more subtle influences find their way into these tracks.  About two minutes into the song, Patton’s voice gets a solo break that sounds more like Kanye with the heavy autotune effects on the line “I got your money”. 

 While the album never quite reaches the brute force of its opening again, the tempo and intensity never relent, except for the intro to “S.W.A.G.”, which enters a spaced-out trip hop beat before returning to album’s regular upbeat style.  Every vocalist brings a new influence to the Qemists’ sound, such as Jenna Gibbons’ reverb-laden vocals on “On the Run” or Wiley’s hip-hop and grime-styled rapping on “Dem Na Like Me”.  In the shapeshifting “S.W.A.G.”, Devlin Love proves her versatility as a member of Alabama 3, or A3, best known for the song “Woke Up This Morning”, which opened every episode of The Sopranos.  At times emulating Gibbons’ styles and other times sounding like the best female rock vocalist in the business, Love makes the best contribution to the album.  Another highlight is Beardyman’s incredible beatboxing on the interlude “Soundface”.  The track is almost entirely a cappella, with some effects on the voices, but it sound just like a Beardyman manages to reproduce the Qemists’ sound almost perfectly.

Still, the guest vocalists are not what makes the album so excellent.  It is, as with most dance music, the beats behind the vocals, and even the tracks without guest spots are fantastic.  “When Ur Lonely” is the longest, most dynamic song on the album, introducing its main themes before dropping everything and building back up into a face-melting climax.  Unfortunately, it is in the instrumentals where the sound gets slightly stale.  The main melody of “When Ur Lonely”  sounds very similar to the main melody of “Stompbox”, and it shows why the Qemists may have made the right decision when they dropped their guitars for electronic substitutes.  Regardless, their formula, at least for their first album, works. 

Though it lacks variety in tempo and intensity, Join the Q remains an enjoyable and fun listen for the duration, maintaining an accessibility that most drum and bass music cannot achieve for one song.  The variety in the album stems from the Qemists’ ability to make slight alterations to their sound to fit the style of their various guest vocalists, while showing their own creativity on instrumental tracks placed strategically throughout.  Thanks to the dynamic drum programming and versatile synth voices that can take the music into any genre necessary, the disc is constantly engaging.  It injects a sense of musicality so deprived from most dance music, and it maintains that musicality consistently. - Tyler Fisher

Release date: 2009

    • NINJA TUNE Records vinyl 4-LPs - item is FACTORY SEALED

    • LPs made in the UK (England)

    • Pressings are in STEREO

    • Record Catalog Number: ZEN129

    • Limited Edition Vinyl issue

    • 180 gram virgin vinyl

Factory Sealed vinyl 4-LP title, this album features the music of -

The Qemists

LP Title -

Join The Q

Track Listing -

A. Stompbox
B. Dem Na Like Me - Featuring – Wiley
C. Lost Weekend - Featuring – Mike Patton
D. S.W.A.G. - Featuring – Devlin Love
E. On The Run - Featuring – Jenna G.
F. When UR Lonely
G. Drop Audio - Featuring – I.D.
H. The Perfect High
    Performed by -
• Dan Arnold – bass
• Leon Harris – drums
• Liam Black – guitar
Additional musicians:
• Mike Patton ? vocals (on "Lost Weekend")
• Jenna G ? vocals (on "On the Run")
• Wiley ? vocals (on "Dem Na Like Me")
• Zoe Devlin Love ? vocals (on "S.W.A.G.")
• I.D. ? vocals (on "Drop Audio")
• Beardyman ? vocals (on "Soundface")
• MC Navigator ? vocals (on "Got One Life")

CONDITION Details:

The JACKET is in Mint condition. The jacket is completely intact, with NO seam splits. This item is FACTORY SEALED. The jacket has NO drill holes or saw marks of any kind. See picture with this listing for more detail. 

The LP is assumed to be in Mint condition! This item is FACTORY SEALED.

A Short Note About LP GRADING -

  • Mint = Only used for sealed items.
  • Near Mint = Virtually flawless in every way.
  • Near Mint Minus = Item has some minor imperfections, some audible.
  • Excellent = Item obviously played and enjoyed with some noise.
  • Very Good Plus = Many more imperfections which are noticeable and obtrusive.

Always properly clean your LPs before playing them - even new, sealed titles!

The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Don't let this rarity slip by!!!


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