In progress?

We will meet where the lights are/The defenders of the faith we are/Where the thunder turns around/They'll run so hard we'll tear the ground away.

Four become five. It’s an emotional and significant album for Take That. In-band squabbles and differences have been put aside to celebrate the good times, and all this has been condensed into an album that suggests they could actually have a future together as a five-piece.
Those expecting a rehash of Beautiful World or The Circus are in for a shock/treat (delete as appropriate). Gone are the middle-of-the-road ballads and in their place is a contemporary euro-pop album that consistently plays on your belief that you’ve come to know what to expect from Take That. This is 100% a very good thing. Personally, I don’t know if I could stomach a CD of lighters-in-the-air anthems, while Robbie stares lovingly at Gary and all is forgiven. Instead, what we have is an album that boldly dares to write the next chapter in Take That’s history, documented in a collection of ten perfectly-formed tracks.

SOS is like ABBA on steroids. The chorus is a whirling cry of disarray, and disorder has never sounded so catchy. Kidz, not to be confused with Williams’ solo hit of (almost!) the same name, sizzles over a thumping electro stomp whilst Mark mumbles anti-establishment sentiments of “kings and queens and presidents, ministers of government” and such, before Williams grabs the issue by the crotch and roars, “There’ll be trouble when the kids come out/There will be lots for them to talk about”, to which Mark retorts a few “hey hey heys”. It’s quite a departure from Take That’s typical soundscape and, as such, is one of the best tracks here. Consequently, Kidz is an obvious contender for follow-up single to The Flood.
Meanwhile, Pretty Things is a soothing lullaby lost in clouds of synthesizers - fronted almost entirely by Williams again – whereas Happy Now is a ray of euphoric pop that is almost as jubilant in its sentiment as Do What You Like… but then again, nothing ever is.

Howard and Jason hustle their way to the mic on Affirmation and hidden track Flowerbed respectively, both songs positioned in the rear of the track listing. Both tracks do the job however, and will hush detractors that say the vocals should be spread more evenly.
And what about Gary? Well, he is here, most obviously on The Flood and official album closer Eight Letters. Otherwise, he tends to take more of a back-step. ‘Mutiny!’, I hear you all cry. Not quite, as Barlow’s influence can be heard melodically throughout Progress, in the urgency of SOS’ furious beats per minute’s right through to the exuberant harmonies of Happy Now. The decision to step aside and allow Williams and Owen the majority of lead vocals was certainly a brave one, but one that I think pays off when you consider the addition of Stuart Price too.
This year alone, Price has played the part of producer extraordinaire for Kylie, Scissor Sisters and Brandon Flowers’ first solo LP. Here, Progress is enveloped in a layer of warmth that actually contrasts well with the vocals of Owen and Williams. Owen’s voice is an unusual one, which forces its way out in a slightly tense pitch, whilst Williams can let loose with thundering power. The verses of Kidz could not have been done by any other member than Mark, and it is Robbie’s call-to-arms vocal that crash against The Flood which make it such an epic comeback single. To this end, production and vocals are suitably matched, but it is the absence of Gary’s vocals that will cause the biggest upset with fans, rather than the shift in sound.

Some of these songs will sound huge live, and with the album cover depicting the five members in the various stages of mankind whilst lyrics speak of “divine intervention” and “preparing for apocalypse”, Take That can really go to town on the theatrics when their 2011 tour roles around. Progress is a fiery disc of molten brilliance, shot out from the centre of the earth. Well done boys.