UK single, "Grip Like a Vice" claps and blasts familiar beats with a little more oomph and a little less heart. Jamming "Do It Right" lingers like a 50's bandstand girl group with a chorus reminiscent of the sweet sassiness of French Pop. Psychedelic "My World" sounds like something on a 70's nature program full of surreal keyboard pads and earthy acoustic guitar while "Titanic Vandalism" entertains with a 60's comic crime charm (think "Danger: Diabolik" and you'll get the picture) and blood bathed revenge b-film charisma. While the horns hammer, the guitars crunch to pounding female vocals. "Titanic Vandalism" sounds surprisingly familiar compared to the many alien songs on this album. "Fake ID" is another return to French Pop, this time more so. Mimicking the girlish vocals of Claudine Longet or Anna Karina while mixing in The Go! Team's distinctly texturized beats making this track as fun to listen to, as it is to dance.

"Universal Speech" flourishes in its use of harmonica, but otherwise this song remains lackluster, falling short of great with its overused rhythms. "Keys to the City" swings under the territory of film composer Ennio Morricone while shouting girl gang vocals reverberate to the sounds of fuzzed out horns and west coast guitar twangs. Sanguine "The Wrath of Marcie" pulsates affectionately to playground beats while taking hints of Glen Campbell. Lackluster "I Never Needed It Now So Much" sounds a little less French Pop with Vince Guaraldi written all over it, yet fails to ignite much excitement. One song to look forward to is "Flashlight Fight" featuring Chuck D of Public Enemy. This beat blasting, Motown horn drilling track blisters to Chuck D's snarls and stabs. As the last remaining minutes roll by, "Patricia's Moving Picture" reminds listeners of the good ol' days of Thunder, Lightning, Strike's heady infantile moments of instrumental bliss. So as the final song slowly floats away into cotton candy clouds and sugarcoated dreams I realize how much I miss the sample-heavy past, I think this goes for many of us.

As inviting as Proof of Youth may seem, there's something wrong here. Musical direction has changed heavily now that everyone is contributing (so shouldn't this be a good thing?). Unfortunately, the direction now taken is something most listeners are going to have to get used to. If Ian Parton starts a solo side project the essence will still be there, but then what about the likes of Ninja and the other four members? How would they contribute their sound if they were already part of the same group? Many questions, but few answers unfortunately. There was something undeniably sweet about having an LP that sounded as bedroom-made as Thunder, Lightning, Strike. So to have all of those old mics and amps being replaced is a little disappointing. The fresh taste of 60's girl groups, 70's car chase themes, 80's break beats and double dutch ditties linger in this lackluster album. The appetite for something new just isn't there.