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nervoussystemmusicreverence · 7 months

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Sade - Lovers Rock

Music Video

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Artist

Sade

Composer

Sade Adu Stuart Matthewman Andrew Hale Paul S. Denman

Lyricist

Sade Adu Stuart Matthewman Andrew Hale Paul S. Denman

Produced

Sade Mike Pela

Credit

Sade Adu – vocals Andrew Hale – keyboards, programming Stuart Matthewman – guitars, woodwinds, programming Paul S. Denman – bass Leroy Osbourne – vocals Karl Van Den Bossche – percussion

Released

November 13 2000

Streaming

youtube

#sade #sade adu #andrew hale #stuart matthewman #paul s. denman #leroy osbourne #karl van den bossche #2000s #2000 #music #Youtube

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fuchinobe · 2 years

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(2000, Not On Label, 7425)

Remix by Stuart Matthewman

#sade #cottonbelly #Stuart Matthewman #downtempo #afrobeat

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cbjustmusic · 1 year

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Allison Russell covering Sade’s “By Your Side”.

Previously Posted: - Sade’s performance and a cover by Noah Gundersen ________________________________ By Your Side Songwriters: Sade Adu, Stuart Matthewman, Andrew Hale and Paul S. Denman

You think I'd leave your side baby You know me better than that You think I'd leave you down when you're down on your knees I wouldn't do that I'll tell you you're right when you want And if only you could see into me

Oh, when you're cold I'll be there Hold you tight to me

When you're on the outside baby and you can't get in I will show you you're so much better than you know When you're lost and you're alone and you can't get back again I will find you darling and I will bring you home

And if you want to cry I am here to dry your eyes And in no time You'll be fine

You think I'd leave your side baby You know me better than that You think I'd leave you down when you're down on your knees I wouldn't do that I'll tell you you're right when you're wrong And if only you could see into me

Oh when you're cold I'll be there Hold you tight to me Oh when you're low I'll be there By your side baby

#allison russell #sade #stuart matthewman #andrew hale #paul denman

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boricuacherry-blog · 2 years

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#d'angelo #urban hang suite #hod david #peter mokran #stuart matthewman #leon ware #wah wah watson #sweetback #sweetback band #mike pela #scritti politti #david gamson #itaal shur

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crowally · 8 months

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"I gave you all the love I got, I gave you more than I could give, gave you love... I gave you all that I have inside and you took my love... Didn't I tell you what I believe? Did somebody say that a love like that won't last?"

#Sade #Stuart Matthewman #90's #Spotify

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bobsliquorstore · 9 months

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Top 5 Sade Albums List

Sade is the epitome of counter-culture, which is why streetwear gravitates so much toward this mystic English band. With Sade Adu as the lead singer, Stuart Mathewman at guitar, Paul Cooke on the drums, and Paul Denman playing bass, the synergy of the band is top tier. Breaking the rules of fitting in a certain genre and pop culture, Sade blended the musical arts at their disposal. To this day, they can disappear and reappear 10 years later with a new album that everybody will stop what their doing and listen to it, going at least triple platinum on 5 of 6 of their albums. Sade Adu's immaculate voice and the band's perfect blend of genres creates a quiet storm of self-reflection in love and heartbreak. Since the 80's Sade has had a hold on the culture mesmerizing their listeners. We have concocted a top 5 list of their classic albums that you can't ignore. I wouldn't recommend to Sade and drive, it heavily impairs your driving abilities.

5. Lover’s Rock

2000’s Lover’s Rock was released after the band’s eight year hiatus from music. Some people say it was something to do with group turmoil, others say it was due to Sade Adu having her first child. Despite the rumors, the album didn’t disappoint listeners awaiting a new project. The album had a heavy reggae influence giving it a distinct sound that stands out from previous projects released, with very minimal instrumentation, relying more on the raw talent of Sade Adu’s mellow voice with meticulously crafted lyrics. Most of the album was composed with an acoustic guitar with songs like “Lover’s Rock” and “By Your Side”. They came with a completely different approach than previous efforts with a minimalistic aesthetic, standing on pure raw talent. This album aged very well as well as the rest of their catalog. Sade has another hiatus for 10 years after this album unfortunately.

4. Love Is Stronger Than Pride

The album’s title is such a beautiful tagline that matches the music. The album cover of Sade Adu on the beach gives you the backdrop of the album, very serene and chill. Starting with the title track “Love Is Stronger Than Pride”, it gives you somebody at peace with their decisions right or wrong. Love Is Stronger Than Pride had a more upbeat feel to it with songs like “Turn My Back On You”, and “Give It All”. This album didn’t have as much of Sade’s signature style of sorrow and heartbreak in its subject matter as their previous projects, which is actually a plus; not everybody wants to feel the sadness.

3. Promise

With the pressure from their debut album being such a world-renowned classic, Sade had high expectations on their follow-up. Sade didn’t fall into the traditional sophomore slump fortunately. The follow-up of the Diamond Life album didn’t disappoint, with classics such as “Sweetest Taboo”, and “Is It A Crime”. Promise was a great sophomore album compared to the critically acclaimed debut album Diamond Life, utilizing the same producers from the previous project: Robin Millar and Mike Pela. While recording for Promise, the band began experimenting more with early digital technology such as digital keyboards, drum machines, and synthesizers that were not around during the recording of Diamond Life. The album is filled with love ballads with the soft, laidback voice of Adu. Promise was covered with Sade’s signature sorrow voice, luring listeners without much vocal variation. The album was named after a letter from Sade’s dad promising the hope to beat cancer before his passing. Listeners gravitate towards Sade because of Adu’s ability to engage the audience with experiences of being in love entangled in the lyrics.

2. Love Deluxe

By the fourth album you can tell they found their stride in their music. With peak production, instrumentation, and lyrics, this album is almost neck to neck with the debut album Diamond Life. With peak storytelling from Adu in songs like “Tar Baby” being the chef’s kiss of the album. Sade’s lyrics touch on a lot of subject matter, like “Feel No Pain” going through unemployment Packed with finely layered instrumentals throughout the album. Creates very serene ambiance with songs like “Cherish The Day”, “Bulletproof Soul”. This was their last project before their 8 year hiatus from music. Heavily inspired by smooth jazz and rnb.

1. Diamond Life

Debut album from Sade released in 1984. Diamond Life includes their biggest all time hit “Smooth Operator,” which crossed over into a mainstream success. The album boosted them into stardom, selling 10 million albums worldwide, keeping them relevant over the decades. With jazzy instrumentation, stacked with Sade’s beautiful voice, takes you on a lonely trip of love and heartbreak. The album was solely written by Sade Adu and guitarist/saxophonist Stuart Matthewman. Diamond Life introduced Sade to the masses of American pop culture and worldwide. With classics like “Love Is King”, “Sally”, and Timothy rendition, “Why We Can’t Live Together.” This album changed all contemporary music from 1984 forward, inspiring numerous genres. The band did an excellent job blending rnb, jazz, soul, and blues, setting the trend for their future projects.

#sade #sade adu #diamond life #love deluxe #promise #love is stronger than pride #lover's rock #stuart matthewman #paul cook #paul cooke #smooth operator #90s #bobsliquorstore #bobs liquor store #rnb #jazz #soul

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my-chaos-radio · 2 months

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youtube

Release: October 3, 2000

Lyrics:

Hou, hou-hou, hou, hou, hou-hou

Hou-hou, hou

Hou-hou, hou, hou-hou

Hou, hou-hou, hou, hou, hou-hou

Hou-hou, hou

Hou-hou, hou, hou-hou

You think I'd leave your side, baby

You know me better than that (hou-hou-hou, hou-hou)

You think I'd leave you down when you're down on your knees

I wouldn't do that

I'll tell you, you're right when you want

Ah ah, ah-ah

Ah-ah, ah, han-han

And if only you could see into me

Oh, when you're cold, I'll be there

Hold you tight to me (hou-hou, hou)

When you're on the outside, baby, and you can't get in

I will show you, you're so much better than you know (hou-hou, hou)

When you're lost and you're alone and you cant get back again (hou-hou, hou)

I will find you darling and I will bring you home (hou-hou, hou)

And if you want to cry

I am here to dry your eyes, hou

And in no time, you'll be fine (hou-hou, hou)

And if only you could see into me (hou-hou, hou, hou-hou, hou-hou, hou)

You think I'd leave your side, baby (hou-hou, hou)

You know me better than that (hou-hou, hou)

You think I'd leave you down when you're down on your knees

I wouldn't do that (hou)

I'll tell you, you're right when you want (hou-hou, hou, hou, hou-hou)

Ah ah, ah-ah (hou-hou, hou)

Ah-ah, ah, han-han

Oh, when you're cold, I'll be there

Hold you tight to me (to me, yeah)

Oh, when you're low

I'll be there by your side, baby (by your side, baby)

Oh, when you're cold, I'll be there

Hold you tight to me (to me, yeah)

Oh, when you're low

I'll be there by your side, baby

Songwriter:

Hou, hou-hou, hou, hou, hou-hou

Hou-hou, hou

Hou-hou, hou, hou-hou

Hou, hou-hou, hou, hou, hou-hou

Hou-hou, hou

Hou-hou

Helen Adu / Andrew Hale / Stuart Matthewman / Paul Denman

SongFacts:

👉📖

Homepage:

Sade

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xchemoni · 10 months

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Pitchfork’s Album Review on “Embrya” by Maxwell

“ The reissue of Maxwell’s second album from 1998 showcases the mercurial spirit that followed the R&B auteur down new, aqueous corridors.

In 2011, during the filming of his “VH1 Storytellers” episode, Maxwell attempted to describe his second album, 1998’s Embrya, and its uneasy position in his discography, the way it wriggles away from the more concrete and clarified R&B statements that surround it. “It’s one of those records where you’re like, ‘Should I have done that or should I have not done that record?’,” he said, seeming to pose the question to his own audience.

When Maxwell arrived on radio and MTV in 1996, he brought a sound back with him, the quietly storming soul music of the late-’70s and early-’80s, a genre that could hover politely in the air between neighbors at a cookout or totally collapse the air between two people in a bedroom. His debut, Maxwell’s Urban Hang Suite, modeled itself after records like Marvin Gaye’s I Want You, linked sequences of seduction that either blossomed toward or shrank away from the possibility of love; it eventually sold two million copies and earned Maxwell a Grammy nod.

Now he wanted the sound he had pulled from the past to follow him and bend around whichever corner he turned. As he told the Sydney Morning Herald in 2016, “What I did with [Embrya], on purpose, was that it was the anti-Afro ’70s funk-soul record.” He resisted the notion that his music could be pinned down and examined, and he seemed to want to write music that could circulate forever, that slipped away from any attempt to capture it, like a wave of water or an anxious thought. The songs he wrote for Embrya respond to this inner stubbornness, loosen themselves from their points, spread and pale like watercolors. It was as if had he had opened a window in his urban hang suite and the ocean poured in.

Made primarily as a reaction to his own debut album, Embrya has few previous models for its itself. It is the only R&B record I’ve ever heard that’s submerged as it is. (Even the Sade records that producer Stuart Matthewman worked on periodically come up for air.) At an hour long, it spills itself across four sides of vinyl on its new reissue, released on the occasion of the album’s 20th anniversary. It can be difficult to focus on its individual hooks; they rear up and break apart like waves in bottomless lakes of songs. Flamenco guitar solos ripple and die off like pulses on a radar screen. Strings stir and resettle like clouds of silt at the bottom of an aquarium.

There’s simply not enough water metaphors on this green earth to describe Embrya. This is by design; few R&B albums, let alone albums in general, embody the liquid rush of desire as completely as it does. Maxwell’s piercing tenor is double-tracked so often that even its edges seem watery, and his lyrics crumble from the direct romanticism of Urban Hang Suite into impressions and feelings that aren’t necessarily certain of what they are; he sings words like “plush” and “blush” almost interchangeably, and they melt away in pale petals of near-meaning.

As each song wades gradually from chord to chord, it grows harder to determine one’s position in them, whether at their middles or near their ends or slipping away into new, just-forming instrumentals, as when “Matrimony: Maybe You”—a pop-jazz track smooth and untroubled as the skin of a pebble—narrowly forks into a funk workout called “Arroz con Pollo.” Which isn’t to suggest the sound of the album is uniform; its songs are as various and vivid in their depth charges of color as Monet’s “Water Lilies,” which he painted as his vision was failing and the world itself was melting into streaks of color. There are indeed verses and choruses on Embrya; there’s a deep mysterious pull in the groove of “Luxury: Cococure” from which the chorus seems to bubble upward. “Drowndeep: Hula” is one of Maxwell’s tenderest yet murkiest ballads; if its drumbeat were a little slower and dilated it might’ve produced an early draft of Massive Attack’s “Teardrop” instead. “Gravity: Pushing to Pull” finds Maxwell descending to a pressurized depth, his voice riven with low distortions. But as Embrya advances it can feel just as often like a lens is dwelling over different gatherings of sound—hands swimming up the keys of a synthesizer, basslines played so flexibly they’re invertebrate—briefly snapping them into focus before they sink back into the texture of the record.

In this way Embrya somewhat foreshadows D’Angelo’s 2000 masterpiece Voodoo, both artists searching for something even beyond the outer limits of their debut albums, both records achieving something close to perpetual motion in the slow circulation of their grooves. But where Voodoo stretches time out until it’s crisp and brittle, Embrya’s time feels thick and immeasurable and seems to pass in gradual stirrings, the liquid counterpoint to Voodoo’s spare, desiccated funk. It��s an album of traceless, amnesiac swellings, never seeming to quite know where it’s going or where it’s just been, flowing without ever seeming aware of its flowing, which is its truly remarkable achievement. According to Maxwell, Embrya is “a story that unfolds,” but it’s impossible to pick up a single thread of it and follow it to its original source; it’s all source, a concept album in which there is no concept, just feelings, impressions, intimacies and their absences, wave after wave after unending wave of them.”

Original review

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odk-2 · 2 years

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Sade - Smooth Operator (Remastered) (1984) Sade Adu / Ray St. John from: "Diamond Life"

R 'n' B | Sophisti-Pop | Smooth Jazz

JukeHostUK (left click = play) (320kbps)

Album Personnel: Sade Adu: Vocals Andrew Hale: Keyboards Stuart Matthewman: Guitar / Saxophone Paul S. Denman: Bass

Terry Bailey: Trumpet Gordon Matthewman: Trumpet

Dave Early: Drums Paul Anthony Cook: Drums Martin Ditcham: Percussion

Produced Robin Millar

Recorded: @ The Power Plant Studios in London, England USA during October - November of 1983

Released: on September 3, 1984

Epic Records (UK / Europe) Portrait Records (US)

Sade Adu: Vocals Andrew Hale: Keyboards Paul S. Denman: Bass Stuart Matthewman: Guitar / Saxophone

#Sade Adu #Sade #Diamond Life #Smooth Operator #Epic Records #Portrait Records #1980's #Sophisti-Pop

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zeruch · 1 year

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Sounds That Have Been Made, EP 18: Pride "Pride (When You Can't Back Down)" 1983

Sounds That Have Been Made, EP 18: Pride “Pride (When You Can’t Back Down)” 1983

Before Sade was a hit-making quartet (and yes, they have always been a quartet, with an almost immutable lineup, the addition of Andrew Hale in 1984 as the sole major change), several members -namely Sade Adu, Stuart Matthewman and Paul S Denman- were part of Pride, a septet of soul with shades of new wave/post-punk/funk thrown in; you got the impression that they were after a sound not unlike…

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#80s #music #sade #uk soul #Youtube

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t-jfh · 1 month

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Sade Adu wearing an Ushanka, London, 1985

(Photo: David Graves)

Sade performing songs including Why Can’t We Live Together, Your Love Is King and Is It A Crime at Live Aid in front of 72,000 people in Wembley Stadium, London on the 13th July, 1985. The event was organised by Sir Bob Geldof and Midge Ure to raise funds for the Ethiopian famine disaster. Broadcast across the world via one of the largest satellite link-ups of all time, the concerts were seen by around 40% of the global population.

SADE LIVE AID

Sade Adu — Vocals

Stuart Matthewman — Guitar, Saxophone, Vocals

Paul Spencer Denman — Bass Guitar

Andrew Hale — Keyboards, Vocals

Gordon Hunte — Guitar

Dave Early — Drums

Martin Ditcham — Percussion

Gordon Matthewman — Trumpet

Jake Jacas — Trombone, Vocals

YouTube video >> Sade - Why Can't We Live Together (Live Aid 1985) [Released 18 March 2022 / 2mins.+35secs.]:

Why Can't We Live Together is written by Timmy Thomas.

Published by Peermusic for UK and World ex USA, Canada & Poland) and EMI Longitude Music (Sony Music Publishing) for USA, Canada & Poland.

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YouTube video >> Sade - Your Love Is King (Live Aid 1985) [Released 21 September 2018 / 4mins.+31secs.]:

Your Love Is King is written by Sade Adu and Stuart Matthewman.

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YouTube video >> Sade - Is It A Crime (Live Aid 1985). [Released 1 April 2022 / 6mins.+10secs.]:

Is It A Crime is written by Sade Adu / Stuart Matthewman / Andrew Hale.

Angel Music Limited (Sony Music Publishing).

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#Shade Adu #Live Aid 1985 #Youtube

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ourmindonmusicpodcast · 11 months

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Sade: 2023 Songwriters Hall of Fame and a new album in the works

2023’s Songwriters Hall of Fame inductees were announced back in January of 2023 and Helen Folasade Adu CBE, lead singer of Sade, is among the names. An official ceremony will be held on June 15th at the Grammy Museum in Los Angeles. So, here’s a little look back at Sade (1982 – the present) Sade, formed in London in 1982, includes Sade Adu on vocals, Stuart Matthewman on guitar and saxophone,…

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cozyaliensuperstar7 · 1 year

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Sade 👑

#Repost @okayplayer

——

Next year marks 40 years since the beloved UK band Sade — named after its alluring lead singer Helen Folasade Adu — emerged with hits like “Smooth Operator,” “Your Love Is King,” and “Hang On to Your Love.” Their debut album, Diamond Life, dominated R&B and pop radio with widespread acclaim, ushering in a new era of Quiet Storm and smooth soul that inspired generations after them.

Aside from Adu assuming the role of lead vocalist, the quartet is completed by members Paul S. Denman (bass), Andrew Hale (keys), and Stuart Matthewman (guitar and saxophone). Together, the foursome has written some of the most well-crafted and articulate songs about the complexities of love.

With new music supposedly being released sometime in the foreseeable future, along with Sade Adu being inducted into the Songwriters Hall of Fame this year, we’ve highlighted the best songs from the group’s discography. Hit LINK IN BIO for the full list. ✨

✍🏽: @chasingkia

( 📸 Credit: Getty Images | #Sade #SadeAdu )

15. “The Moon and the Sky” (2010)

14. “King of Sorrow” (2000)

13. “I Never Thought I’d See the Day” (1988)

12. “Solider of Love” (2009)

11. “Pearls” (1992)

10. “Paradise” (1988)

9. “Like a Tattoo” (1992)

8. “Your Love Is King” (1984)

7. “Kiss of Life” (1992)

6. “Love is Stronger Than Pride” (1988)

5. “The Sweetest Taboo” (1985)

4. “No Ordinary Love” (1992)

3. “Is It a Crime” (Lovers Live version) (2002)

2. “By Your Side” (2000)

1. “Cherish the Day” (1992)

What's your top 5 Sade songs?

#sade adu #sade

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kickmag · 1 year

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Red Hot + Riot Fela Kuti Tribute Reissue

Red Hot's Red Hot + Riot tribute to Fela Kuti marks its 20th anniversary in 2022 and it has a reissue to mark the occasion. Today is World AIDs Day and the recording is now available for the first time on streaming services and has been remastered with two hours of new music. There is an unreleased version of "Sorrow, Tears & Blood" by Bilal, an extended version of Sade's "By Your Side" by Stuart Matthewman, an acoustic version of "Trouble Sleep" featuring Baaba Maal and kora player Kaouding Cissoko and more.

Fela Kuti is the father of Afrobeat and he died of AIDs-related causes in 1997. Red, Hot is a non-profit that started releasing compilations to fight AIDS through pop culture in 1990. Questlove suggested that Red, Hot cover Sly Stone's There's A Riot Goin' On but they were not able to clear the copyrights. Red, Hot was able to get the rights and master recordings of Fela's music. Questlove had a jam session at Electric Ladyland with D'Angelo and Fela's son Femi Kuti and they performed "Water Get No Enemy." Femi's band Positive Force, Niles Rogers, Erykah Badu, D'Angelo and Macy Gray were some of the other artists who were part of the album. You can buy it and the merchandise on the Red Hot Bandcamp page.

Red Hot + Riot Reissue

Fela Mentality (Intro) – Mixmaster Mike + Mario Caldato, Jr.

Kalakuta Show – Mixmaster Mike, Gift of Gab and Lateef (of Blackalicious)

Interlude: Live at Kalakuta – Posuma, Remedies, Taiwo, Segun, Tosin, Andres Levin

Shuffering and Shmiling – Dead Prez, Jorge Ben Jor, Talib Kweli, Jorge Ben, Bilal + Positive Force

Interlude: Gimme Shit – Mixmaster Mike + Mario Caldato, Jr.

Water No Get Enemy –D’Angelo, Femi Kuti, Macy Gray + Questlove featuring Roy Hargrove, Nile Rodgers, The Soutronics + Positive Force

Gentleman – Meshell Ndegeocello + Yerba Buena featuring Ron Blake

Tears + Sorrow – Common, Meshell Ndegeocello + Djelimady Tounkara

Shakara / Lady (Part One) – Cheikh Lô

Shakara / Lady (Part Two) – Cheikh Lô, Les Nubians, and Manu Dibango

Don't Worry About My Mouth O – Monoaural (Kassin + Berna Ceppas)

Zombie (Part One) – Bugz in the Attic featuring Wunmi

Zombie (Part Two) – Bugz in the Attic featuring Nile Rodgers + Roy Hargrove + Money Mark

No Agreement – Tony Allen, Res, Ray Lema, Baaba Maal, Positive Black Soul + Archie Shepp

So Be It – Kelis

Interlude: This Is an Ashanti Proverb – Monoaural (Kassin + Berna Ceppas)

By Your Side – Sade (Cottonbelly Fola Remix - Edit)

Colonial Mentality – Yerba Buena + Lenine

Trouble Sleep Yanga Wake Am – Baaba Maal + Taj Mahal featuring Kaouding Cissoko + Antibalas

#fela kuti #red hot

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boricuacherry-blog · 4 months

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Promise is lush and unhurried, reclining somewhere between jazz, Brazilian pop, and soul. The album's title was inspired by a letter that Adu received from her father, in which he wrote about the "promise of hope," a reference to a source of strength he found during his battle with cancer.

Multiple articles and reviews from the time of release leaned on the same descriptor for the singer, the band, and the music: "cool." It's mood music, at the purest definition: Stuart Matthewman's sax, Andrew Hale's keys, and Paul Spencer Denman's masterful bass envelope listeners, transport them. Their live recordings were a departure from the heavily programmed production of the era, and the sparse elegance that some found - and still find - too loungy is one of the primary factors in Sade's sound and catalog aging beautifully.

Promise's opener, "Is It a Crime," is Sweetback's (the name Matthewman, Hale, and Denman perform under as a trio) showcase. This is a definitive Sade song, with Hammond organs and djembes and Adu pleading over big-band style crescendos. She describes her love as one that "dives and jumps and ripples like the deepest ocean," and that's what the song does, waves of sax and piano cresting and breaking over Adu's insistent declaration of love.

While Sade's music is often categorized as relaxing or sensual, the smoothness of her vocals and the mellow instrumentation belies the melancholy in most of the album cuts. Lyrically, Promise is a collection of short stories exploring the varied stages of love and relationships; some autobiographical to Adu, who co-wrote every song on the album but one.

"War of the Hearts" frames the end of a relationship as a standoff; Jezebel is the deceptively simple story of a prostitute, told in innuendos, "Jezebel, what a belle/Looks like a princess in her new dress/How did you get that?/Do you really want to know? she said," and Maureen is about a friend she lost and all the new experiences she'll never get to tell her about.

#sade #promise #album #promise album #1985 #80s #jazz #🔥🔥🔥

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overlooked-tracks · 2 years

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Sade Are Recording New Music

The following article has been posted on October 11, 2022 at 12:50AM:

An Overlooked Tracks News Finding: Here’s an article you might have overlooked. Having a partnership with NewsAPI, we try to catch music entertainment news for you to view, read and possibly enjoy. We will continue to find what’s available in the world of music entertainment, concert information and music releases. But obviously you – the listener and reader are the biggest source for news in your area, so if you can share with us. For right now, look at what we found for you:

From the Pitchfork Music Website – “Sade Are Recording New Music”

Sade Are Recording New Music

Sade have been working on new music, Billboard reports. The band has been recording at Miraval Studios in Correns, France. The French producer and composer Damien Quintard, who co-operates the studio, told Billboard, “You could feel the love that she and the band had for this place.”

Sade last issued an album in 2010 with Soldier of Love. The band returned in early 2018 with “Flower of the Universe,” released on the soundtrack for Ava DuVernay’s adaptation of A Wrinkle in Time. Sade followed with another soundtrack contribution later that year: “The Big Unknown” for Steve McQueen’s Widows. Between the two singles, band member Stuart Matthewman said the group had “a bunch of songs” underway. Pitchfork has contacted Sade’s representatives for comment on the new project.

Sade have been working on the new material at Miraval Studios, which Brad Pitt owns and co-operates with Damien Quintard. The newly reopened studio—where Sade had previously recorded—is located at Château Miraval, an expansive winery and estate that Pitt bought with Angelina Jolie, his former spouse, in 2012. Château Miraval has been a contested subject as Jolie and Pitt navigate a lengthy divorce. Earlier this month, court documents revealed Jolie’s accusations that Pitt had physically and emotionally abused their children, detailing a 2016 incident on a private plane.