Memphis’s Jadewick are back with the nine track noise rock/post-hardcore ripper I’ll Take You With Me.

Purchase digital copies and vinyl via Bandcamp.

Self-released on all platforms on September 12th, 2025.

Jadewick reinvented themselves during the covid period, and I’m here for it. My old band, Wonder Kid, played a couple of shows with Jadewick in Baton Rouge and Memphis in 2019. At that time, Jadewick was a fantastic atmospheric indie/emo band. In 2025, Jadewick sure as hell isn’t that anymore. Starting with 2023’s YOU WOULDN’T BE A FAN, Jadewick transitioned from atmospheric guitar pads to oversaturated riffs and from soaring melodies to violent snarls. I’ll Take You With Me is their latest outing, 30 minutes of noisy aggression directed at the world.

“Clout Goblin” opens the record with a feature from Little Baby Tendencies, another Memphis based act. Right away, we’re treated to some blistering riffs, in your face vocal deliveries, and propulsive drumming. The track lifts when the vocals from Little Baby Tendencies join in, as the vocal timbres pair well. The outro strips down before erupting in the wall of feedback that is the beginning of “More Bondage.” Zo Shirazee’s vocals shine in the intro, as he effortlessly glides between powerful screams, clear cleans, and subdued talk-singing. Behind the vocals is a cacophony of distorted bass, shrieking guitars, and space eating drum fills, just as the noise rock gods intended.

“Service Industry Plant” drops the intensity just a bit, but the aggression and urgency in the bass part, courtesy of Barrett Kutas, hints at where the ending is going from the start. Sure enough, halfway through, Jadewick has settled back into their unhinged aggression, riding on unrelenting drum grooves from Sameer Shirazee. “Melancholy Dogs” continues in the tradition of great post-hardcore “ballads” (a term misapplied, but I’m not sure what else to call the tracks that dial the tempo and aggression back a touch), building around a powerful groove with rhythmic hitches. You can put that vibe straight in my IV. Thanks.

The cheekily titled “Pink Phony Club” continues where the last track left off, continuing the more subdued dynamics to start before kicking into wide open anger. Just after the two minute mark, we’re treated to my favorite drum groove on the album that creates a lopsided feeling before filling into a splash and exposed vocals. The outro is one of the heaviest moments on the album, and the bass is doing some heavy lifting to add width. “Death Row Tull” is a masterclass on how to build a verse, as all three instruments continue to build in complexity and aggression as the vocals build in intensity. The track is littered with little unison rhythmic abnormalities that keep the riffs engaging. I’d be remiss to not mention how absolutely filthy the bass tone is throughout.

“Okaeri” closes the record out with a slow(er) burn, clocking in at six minutes and opening with a stripped down, driving drum part, atmosphere from the bass, and talk-singing. I haven’t mentioned the guitar yet, also performed by Zo Shirazee, and I think this track highlights the value of his guitar parts throughout, sitting on top of the powerful rhythm section with melodies and discordant noise. After building for nearly the entire run-time, Jadewick plays against type by not erupting as expected. Instead, the band strips down slowly, ending with light vocals and atmospheric noise from the bass.

I love I’ll Take You With Me. I’m not really sure what else to say. If you have not listened to the record yet, I’d encourage you to do so right now. Jadewick has never made music that I didn’t think was great, but this is the band at its best.

Purchase digital copies and vinyl via Bandcamp.

For fans of: Dynamic vocals, noisy guitars, and a pummeling rhythm section

Perfect for: Headbanging in an old fire station repurposed as a DIY venue

Favorite track: “More Bondage”

Rating: 9.5/10