Often sounding like they were written and sung in a drunken stupor (a likely reality considering the group's reputation), the 15 tracks contained in "200 Million Thousand," the Black Lips [ tickets ]' fifth studio album, are unapologetically rowdy, raw and bold.

The Georgia garage-experimentalists certainly are not reinventing themselves with this release, but they are expanding upon their vintage psychedelics and thrillingly eccentric rock sounds, haphazard air and feisty disarray. The unpolished howls and overall disorder that permeate"200 Million Thousand" make it easy to envision the quintet's onstage debauchery, during which vomit, nudity and all-things-shocking can occur.

Generally, the sounds stay true to a down-and-out or getting-wasted attitude. Most addictive are the reckless, surfy twangs of "Drugs" ("Come along and take a ride with me/I'll make some space in my dirty backseat"), the bright indie guitars and dizzying climax of "Starting Over," and the shakedown rock fever of "Short Fuse." "Big Black Baby Jesus of Today" moves to a tom-tom rhythm, during which the group adamantly claims: "It don't matter what they say/You can't be the Jack Johnson of today."

Despite the overall upbeat nature, there are several notable sidesteps. The woozy "Trapped in a Basement" is as haunting and distorted as it gets. Deranged laughter and a drifting melody make it creepy, but oddly captivating. The stirring, sermon and confessional-tone of "I Saw God" has a strong Bright Eyes-vocal conviction until the song progresses into a maddening chorus of reverb and noise. "The Drop I Hold" is a drowsy rap rant that incorporates a sample from the Jonestown Massacre. The band takes yet another break from its expected craze with the '50s doo-wop tune "I'll Be With You."

With "200 Million Thousand," the Black Lips continue to merge Southern-rock style and values, flower-child spirit and garage racket to make music that is instantly exhilarating and enduringly vibrant.