When Nick Saloman released his last album as The Bevis Frond Facebook was restricted to students of Harvard College, you went to MTV not YouTube to watch videos, twitter meant an annoying sound (nothing new there then) and the cloud brought you rain not entertainment. It's a much different world that greets The Leaving Of London the new Bevis Frond album, and yet it doesn't sound dated, timeless yes, but not dated.

Over its 18 tracks The Leaving Of London hops genres with the dexterity of a frog on red bull. From guitar freakouts to lo-fi folk, from psych tinged rock to power pop/punk it's the song, not the sound that matters. The album opens with a plummy voiced announcer asking "everyone has a favourite tune, is this yours?" leading straight into the upbeat, Bandwagonesque esque power pop of 'Johnny Kwango'. What a start, I defy you to answer plummy's question with a no. The album is at its best on tracks like 'Johnny Kwango', 'Preservation Hill' and 'Barely Anthropoid', when Nick get's in touch with his jangly side, his inner Byrds.

As might be expected from a band releasing their first album for seven years their frame of reference is well established, rather than up and coming, artists. Starting off like a less angry Eton Rifles 'More To This Than That' would once have been called New Wave (ask your dad). 'You'll Come' with its stuttering guitars and fast paced delivery sounds like Elvis Costello at his most acerbic. 'Speedboat' opens up with some Bevis copyrighted backward guitars before morphing into another Costelloesque upbeat pop rocker. If it doesn't get your toe tapping then you need to see an orthopaedic doctor. It's not all fast, furious, rock or power pop. On the hauntingly beautiful title track and the achingly sad 'The Divide' it's just Nick and piano and Nick and acoustic guitar respectively. There's not an electric guitar in sight. It's tracks like these that add variety to the album.

Seven years is a long time in life, let alone the transient, ephemeral, fashion focused music industry it's therefore no surprise that The Leaving Of Liverpool is untouched by dubstep, witch-house or any of the other million and one genres that have risen and fallen since the last Bevis Frond album. It's therefore understandable that, on the self deprecating 'Too Kind', Nick worries about his musical relevance today. Well Nick, despite the odd self indulgent guitar solo on 'Reanimation' and 'Too Kind' itself, you don't need to worry. As they say on Match of the Day, form is temporary but class is permanent.