Take That
Progress
Rating: 
Out now
Such is the sense of anticipation surrounding the full-length return of Robbie Williams to the Take That fold that even days before its release, reviewers are required to listen to Progress on an iPod playback at a central London office.
But for someone who has found an entire album of Barlow & co akin to being trapped inside a never-ending M&S Xmas advert, reaching the conclusion of Progress sparks an novel reaction. You want to listen to it all over again.
Progress is an album of apocalyptic visions, martial electro-beats, quirky 80s synth-pop steals and massive Lady Gaga choruses.
It’s got a contemporary sheen, courtesy of Madonna/Killers producer Stuart Price and the lyrics are immeasurably improved by Robbie’s presence. Smart throway lines like “she blinded me with silence” are surely his work.
Progress is also one giant therapy session as the band members hug, make-up and express regret that, you know, they never really talked before.
Even the title is an intentional pun. Yes, it’s the boyband growing into a manband, with extra musical muscle.
But as Mark Owen sings in his autobiographical What Do You Want From Me?, “We’re making progress here”. Therapy-speak litters the lyrics – Howard’s contribution is even called Affirmation.
Single The Flood, the album opener, confirms Gary Barlow’s way with an epic minor-chord change but from then on we’re into uncharted territory.
The frantic, electro-rocker SOS is all lyrics about “mind control” and warnings to “prepare for the apocalypse” from Owen and Robbie.
It’s a theme continued on the call-to-revolution, Kidz, another techno-glam stomper. The verse speaks of “minsters of governments” and “monkeys building machines”. Ian Brown will love it.
“There’ll be trouble when the kidz come out,” goes the chorus and the song, which echoes Pink Floyd’s The Wall, fades out with a children’s choir.
These “end of days” songs, with their pseudo-classical-meets-Abba soaring chord structures demonstrate that the band have been listening to a lot of Muse. Will they create a sci-fi live spectacle on the Progress tour to match the Devon rockers?
Pretty Things is the closest thing to David Bowie in his 70s Wild Is The Wind tortured balladeer pose – the title suggests the lift is intentional. Gary and Robbie intertwine vocals over a backing track that actually recalls Vince Clarke’s early Depeche Mode melodies.
Underground Machine, Robbie’s full-on lust track, explores the Mode’s industrial period. “I’m just a piece of your pie chart,” spits Williams, lyrics which suggest negotiations for renewing his new EMI/Terra Firma contract may not go entirely smoothly.
Williams’ psychosis even bleeds into Happy Now, an obvious single, where he duets with Barlow but sings “I get the feeling we’ve been lied to.”
Howard’s Affirmation is a high-tempo synth sprint which isn’t the most innovative track but still finds space for a nagging New Order-type guitar line.
Barlow brings proceedings to a more traditional close with Eight Letters, the big, gig-closing, piano-driven ballad. But Eight Letters (“three words, one meaning” – can you guess what it is yet, kids?) too has a cheeky steal from Ultravox’s Vienna in its chorus and borrows that epic track’s drum pattern.
Before Jason Orange fans angrily toss the album in the bin, there is a hidden track, Flower Bed, a nursery-rhyme melody where he is cocooned in ambient synths and sings ”I’m safe in your flower bed”.
It’s a typically quirky conclusion to an ambitious album that will redefine Take That and win them a new audience, whilst holding on to most of their base.
The witty Ascent of Man cover also suggests that this particular evolution has reached its conclusion with Robbie’s return. The comeback is complete.
There must be strains between the musical directions Robbie and Gary wish to pursue and there may not be anywhere further for this particular incarnation to run after the world tour. But it’s more than enough for now.
Progress is released Monday Nov 15th 2010
The first Take That album our household has ever bought and I think it’s excellent. The above review is spot-on. Over 45’s like me will enjoy spotting all kinds of influences and homages to Ultravox, Bowie, Sparks, Kinks, Pet Shop Boys. I don’t know if Jason Orange is a Godley & Creme fan but his hidden song at the end could have been written by them in the early ’80s. They should remake the “Cry” video to it. Good stuff.