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Take That - III - 'there is no denying the record's polish, and savviness of tune'

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Take That

Take That

Take That

The first thing that comes to mind on the first album since the departure of musical colossus Jason Orange, is how youthful Take That have tried to make III feel, starting with lead single 'These Days', which sounds like La Roux's 'Kiss And Not Tell' after a feed of Skittles.

It's the sound of a group who knows that its supposed 'mature' audience has had no reluctance in migrating to the open arms of Niall, Zayn, Harry and the other pair, and they need a quick injection. Case-in-point, the glossy euro-pop of the Mark Owen-fronted, 'Lovelife'.

'I Like It' sees them try their hand at stomping electro-pop - the kind of Tesla-like wave that Richard X used to cast out for Kylie and Rachel Stevens to surf upon. There's a sassy pop tune in there, it just feels a bit odd in Gary Barlow's paws.

If it's 'woah-woah', and 'ba-ba-bah' choruses you're after, these lads have job-lot. 'Portrait' sits neatly between the stools of Coldplay and A-Ha. While between the "night is ours until tomorrow" of 'Get Ready For It', and 'Let In The Sun', Barlow is giving us an introductory offer to his esteem-enhancement course (mail order only).

And the big, cathedral-like power ballads that were their calling cards upon their mid-noughties return surface again on 'Freeze'.

It is entirely necessary that 20-odd years on from their genesis, they're still willing to try new(ish) things and keep pace with the pack, however clunky some attempts to be hip might turn out. But there is no denying the record's polish, and savviness of tune.