Take That’s comeback with their first album in 11 years, 2006’s Beautiful World was a triumph, both commercially (selling more than 2.6 million copies in the U.K. alone as of June 2009) and critically (winning 2 Brit awards for “Single Of The Year”).

However, there was that one nagging question: Where did Robbie Williams disappear to?

The next album to come along, 2008’s Circus, was also missing the 16-time Brit award winner. Well, their latest album Progress has Williams back with the group, finally, and not just as a figurehead, but playing a significant role on it, taking lead vocals on half the album.

So does the album find the right blend of Williams’ bolder, edgier sound that dominated the first years of this new millennium and Take That’s mature sounding adult pop?

The answer is a resounding yes, for the most part.

Opener and hit single “The Flood” is typical of the Take That we have known since their 2006 comeback, a mid-tempo song that builds up into a soaring chorus with quasi-inspirational lyrics,

We will meet you where the lights are/the defenders of the faith we are/when the thunder turns around /they’ll run so hard we’ll tear the ground away.

With a lush orchestral sound, “The Flood” has all the makings of a typical Take That song in the same mould of “Patience” and “Greatest Day”. However its tinges of electronic synthesizers and hints of tribal drums give the song a bolder edge to its sound not heard before.

It is from the second track onwards that Williams’ influences start to show. “SOS” is a glam rock inspired track, with lyrics to match. “When the levee breaks/And Manhattan sinks/There won’t be water fit to drink”. With distorted vocals and falsettos, it’s an enjoyable romp for those weaned on rock by the likes of Muse and The Killers.

“SOS” sets the tone for a bolder, more experimental Take That, one that’s not afraid to evolve and have fun with new concepts, instead of being trapped in a commercial-radio friendly sound.

Another standout track would be “Kidz”. With hints of a few riffs poached from Gorillaz, Williams makes his electronic pop influences clear on this track. With its brilliantly nonsensical lyrics, distortion and military drum-esque beats, there is a boldness and swagger in the song that endears it to the listener.

Progress is a smooth rocking ride, until you reach 2 tracks, “Eight Letters” and “What Do You Want From Me” (not to be confused with the Adam Lambert one).

“What Do You Want From Me” tries to use its slick, smooth and overly-processed sound to mask its dull and clichéd subject matter. We hazard a guess that it’s an attempt for Mark Owen to touch on his personal woes, but it comes across as too cloying to affect the listener.

On the other hand, “Eight Letters”, a song about “Eight letters, three words, one meaning” is just plain sappy and contrived. The only Gary Barlow solo, “Eight Letters” offers him a chance to show his vocals, but after all that re-invention heard earlier, it comes across as an odd note.

In case you were wondering about the letters, one of the words is love. Shouldn’t be too hard to guess right?

Despite its little missteps, Progress is an enjoyable album for most of its running length, and has already become the second fastest selling album in the U.K.

More importantly, the refined sound ushers in a new direction for Take That. Progress? Definitely.

Artiste: Take That
Album: Progress
Rating: ✭★✭✭✩

Language: English
Genre: Pop
Record Label: Universal Music
Release Date: 12 November 2010

Track List:

  1. The Flood
  2. SOS
  3. Wait
  4. Kidz
  5. Pretty Things
  6. Happy Now
  7. Underground Machine
  8. What Do You Want from Me?
  9. Affirmation
  10. Eight Letters