Ever since Texas were welcomed back into the fold of British pop in 1997, theirs has been a story of consistent success. The three albums since their return have sold by the bucketload, their singles racking up huge airplay, with Sharleen proving an ever-visible promotional asset - not to mention the distinctive voice of the band.

For this is her show, no doubt about it. But it would be churlish not to recognise the contribution of the other band members. Between them they lift Red Book above the status of predictable follow-up to a vibrant record that genuinely moves their style of music forward.

This is most evident in the subtle electro touches added to drums and bass, sounds that give tracks like Get Down Tonight an extra sassy strut towards the dancefloor. Meanwhile, the slower songs also benefit from these trimmings, with What About Us transformed into a thing of vulnerable beauty, Sharleen singing a simple yet uncertain melody.

The singles Getaway and Can't Resist are Texas by numbers - not a criticism, more a note that these guys only have to turn up to have a serviceable anthem or two on their hands. Can't Resist might grate a bit, however, with Spiteri's potentially irritating vocal slides, but in truth this is an album where her voice sounds more assured than ever, a hint of falsetto now and then complimenting her full tone.

Once again the production is as glossy as a woman's monthly, layer upon layer added to the mix, occasionally threatening to smother Ally McErlaine's well-crafted guitar work. On the rare occasions this is pared down, it's easier to interact with Sharleen's vocal, the verses of What About Us a prime example.

A standout track is the duet between Spiteri and Blue Nile front man Paul Buchanan on the warmly intimate Sleep. You would be hard pushed to recognise Buchanan's voice in this tender love song, and you might baulk at the lyrics too - while Sharleen's terms of endearment; "I think that you're the one" are fine, the exultation of the chorus to; "let me sleep, so I can dream of you" sounds a little contrived, one eye on a high chart placing perhaps.

That shouldn't mask the overall quality, though, and the final, title track is a torchbearer, an ultimately uplifting close. Rather than come back with more of the same, Texas now have more of an edge, with even more style for the current pop climate. It suits them well.

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Mercury Prize 2009 nominees