Five come alive again

With the launch of their sixth studio album - rush-released to appease public demand and beat young pretenders JLS to the shops by a week - Take That are on a high, consolidated by the return of prodigal absconder Robbie Williams.
Producer Stuart Price (Madonna, Killers) is the perfect choice here, mixing risque sonics with plenty of razzle and stomp. SOS is the storm after the calm of opening lead single The Flood and signals the mood of playful panic that underscores the album.
It contemplates the apocalypse and sundry disasters in a hyperventilating operetta, several light years away from anything you'd have found on their 1992 Take That & Party debut.
More shocks to the system follow. Kidz warns "Kings and queens and presidents/ Ministers of governments...." of the impending wrath of youth.

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On an album which is the first featuring the composing talents of all five TT men, this sounds like the revenge of Mark Owen. His socially concerned solo albums may have sunk without trace, but now he has his gang with him.
The Robbie Williams effect looms large on Happy Now, a slyly ironic, creepy song where the lead vocalist claims to be "A supersonic specimen/ A minor miracle of medicine".
The heavy duty Underground Machine has the feel of a galumphing robot at a metal disco, cast in the slipstream of Rock DJ. With its bolshy, male stripper beat and see-sawing chorus, it's set to become a big live favourite.
Take That's comeback has not only accommodated but been strengthened by Williams' return. Its one notable misfire, What Do You Want From Me? is quickly covered by the polite finale Eight Letters.
They've pushed the envelope while playing to their core audience, who will love them even more. That must be why it's called Progress.