Take That - Progress, a review

I don't think I need to fill you in on the backstory of Take That - various hysterical outlets have already nailed the Robbie Williams dramas, culminating in a 'glorious comeback' and 'what we've waited 15 years for' on Sunday night's The X Factor.

But I'm trying to step back and assess what Progress, the third album since Take That reunited in 2007, means for the band. By name and the artwork alone, Barlow & co. are trying to assert a level of evolution for the band - and you can see what they're getting at. Starting off as a cheesy boyband with leather trousers and jelly on their bottoms, they were anything but credible. Then 2007 saw the return with 'Patience', which rocked adult contemporary playlists to the core. This continued with montage-perfect ventures such as 'Shine', 'Rule the World' and 'Greatest Day'. But where have they evolved to now?

Upon release of 'The Flood', one would immediately assume they haven't. It's more of the same - a slowly brooding, paced ballad with a pitch-perfect crescendo. The only real change appears to be in vocalist - but even here, Williams sounds very Barlow.

But it's with the rest of the album that we see where the progress has been made. Produced by Stuart Price, a god of electropop responsible for many of Madonna, Scissor Sisters, Kylie Minogue and Brandon Flower's recent ventures, "SOS" is a Mark Owen-led uptempo number with a somewhat manic chorus. Its pace is enough to grab your interest, but it's by no means a classic. "Wait" follows, with a very clear indication of what direction Take That have gone in. Beginning with a 30 second strings piece, the course suddenly veers down an electrobeat avenue. Those familiar with Robbie Williams' disastrous recent ventures will almost scream "Rudebox!" in panic and turn off at this point, and I couldn't blame them - it's lazy by all means.

However, it's not all doom and gloom. "Kidz" sees exactly what Stuart Price can do right - and that is produce a stomper of a song. Literally. The drums and marching-rhythm of 'Kidz' are consistently lingering, providing Take That with an unusual new aesthetic: one of slight...cool. What follows is "Pretty Things", unfortunately a return to weak Robbie. And that's from someone who didn't entirely write off the Rudebox album (I maintain Lovelight and She's Madonna were saving graces). But this is utterly forgettable in every sense.



"Happy Now" is difficult to place. It's so out of sync with the rest of their recent material, that it does initially feel like you've accidentally turned on shuffle. The vocals are autotuned and understated, the beat is patient, and the chorus is underwhelming. "Underground Machine" follows and my initial review of this was 'Pirates of the Caribbean theme remade by Depeche Mode'. Well, indeed. Guitar synths are served up liberally in another of the album's saving graces: it's tense, it's almost comic, but it's going to hook you in.

"What Do You Want From Me?" is, contrary to recent press statements, ludicrously pitched. Sung by Mark Owen, who's had a year of chaotic damage control following the emergence of his years (maybe decades)-long marital affairs, lyrics such as "I still want to have sex with you" seem either woefully insensitive or disastrously embarrassing. "Affirmation" is again uptempo and Howard-led for a change. But as you would expect, they've not really given him a highlight to manage - all the pace in the world can't skim over a glaring lack of tune.

And so we come the close with "Eight Letters", containing a hidden track called "Flowerbed". It's been quite traumatic so far, but fans of their usual euphoric lighters-waving sound will find some solace here. The vocals are earnest and searching, the lyrics are cute and romantic, and they're not drowned out by daft synths. "Flowerbed" in particular is a godsend, demonstrating the potential of electronics: moody, tense emotional pop. However throughout the course of the album, they've showcased its numerous pitfalls: it's lazy, it's unimaginative and it's quite frankly been done before.

Rating: 5/10

Highlights: The Flood, Kidz, Eight Letters, Flowerbed
Avoid: Wait, Pretty Things, Happy Now