Thought you’d never expect a Take That reunion? Well, here are the famous five…. Robbie Williams, Gary Barlow, Mark Owen, Howard Donald, Jason Orange, who have put down their ego and come back for ……well hopefully sometime and a tour. By the look of it (from their album inlay), they are posing in their birthday suits imitating the evolution from ape to man and then naming the album ‘Progress’. It also means their progression from boy band into gentlemen.

The boys who once came into the limelight way back in 1990s, have completed 20 years of making music, even though it meant a break in between, wherein each went their own away with successful and not so successful solo careers. Sadly, on their sixth studio effort, the band makes a Christmas tree style trimming of their ballads, a genre that had won them scores of teenage fans. Their new work is in the new direction, indicating their changing shape….. musically.

Take That bring on producer Stuart Price for the album. Price is accredited for his work on The Killers and its lead singer Brandon Flower’s albums. Thankfully they have not tried to record covers to make a break after such a long time, bringing in totally brand new material to gain their fan base. Robbie Williams, who has since going solo in 1995 given dozens of tearjerker material, doesn’t carry his solo magic with the band, even though he is the leading man fronting seven of the album's ten tracks. Gary comes in on Pretty things and Happy now, nothing very replayable .But the highlight is the opener The Flood that has sweeping violins and a big rousing chorus with pretty harmonies with Robbie on lead vocals. Clever ploy to bring Robbie on the brash 80s synth-pop opener. ‘SOS” is a bit of techno running around and slightly heavy on the ears. But its Williams fronting on songs like Underground Machine and SOS that could break the ice for the album

As a quinteteveryone chips in one way or other.Gary Barlow the main songwriter of the band tries his best, but doesn’t make a dab on the lyrical front, but satisfies to a certain extent in saying what the boys have been to in these past few years. However their profound lyrics leave much to the imagination. The Flood which boasts of huge production values, has Barlow stamped all over with his keyboard wizardry. The song wends its way on overcoming internal struggles. Another noteworthy track is What Do You Want From Me? with Mark Owen singing lead vocals ‘I still want to have sex with you’ to ‘We’re not wise at all, it’s getting harder to recover’ nothing very impressive. The lyrics seem personal to him, especially after his well documented relationship in 2010. Thecustomary piano ballads does finally show up on the finale Eight Letters providing a welcome break and relief from the electronic rhythms.

If you think they sound the same, well then you must listen to the album carefully. Take That has tried something new, and surely it’s not impressive at the first listen, but try again and you might just find something you like from the kids who buttered your love life with songs like Babe, Relight My Fire and the most loved Back for Good.  Williams however sounds a tad different from his solo album work and is easily recognizable. The men who went their own ways have matured in the last 15 years and the baby sound is no more present. Old school days come to memory with Kidz with all its marching and chanting in unison to the ‘la la la’s. The lyrics run as “……there’ll be trouble when the kids come out…’ The Flood is truly a standout, a pop song with a searing chorus, coming next SOS an up-tempo track, with electronic influences coming on Pretty Things and Underground Machine. TheOwen/Williams duet, Kidz shows just how both voices gel well despite the years they have not worked together.

The band presents a heavy sound, slight funk and up-tempo melodies and many takes at techno. ‘The Flood’ is truly a standout, a pop song with a searing chorus, coming next SOS an up-tempo track, with electronic influences coming on Pretty Things and Underground Machine. Electronic beats and heavy synths pop play around much of the album, energetic rush of What do you want from me or even Affirmation offers fast paced vocals, deviating from their usual ballads. It’s easy to see that their impressive 90s balladic stint comes finally in Eight Letters the longest track that also closes the album. A hidden track Flowerbed shows up after a minute of silence with Jason taking lead vocals, very neat and a swoony ballad.

The very positive album title and the sunnery yellow cover may put you in a cheerful mood, but the album sadly falls far from really cheering you up and bringing on the magic of the band that once produced bubble gum pop love songs. Compared to their previous albums as a quartet which seemed far more superior, Progress is a slight disappointment. Not much thought has been given to their fans who must’ve expected a better unit to pick up.  While much of the content is not quite memorable, more due to the lack of catchy hooks, this could be the inevitable reason which will make Take That fans turn their backs to the album. But fans still have Robbie who is the real Rock DJ from Take That. Sadly on this album he too couldn’t ‘entertain you’. Includes Lyrics.

Rating: *****

By Verus Ferreira