The Flaming Lips’ 12th studio album, Embryonic, is quite a departure from their last few records. Gone are the haunting symphonic pop of the Soft Bulletin, the electronic soul of Yoshimi Battles the Pink Robots and the bouncy-rock antics of 2006′s At War With the Mystics. Instead, the Flaming Lips seem to reach to their roots as the perennial American psychedelic rock act and offer a much more twisted and mind-expanding experience on the electrifying Embryonic.

It takes a lot to change when nothing’s wrong. The Flaming Lips weren’t doing anything wrong by playing virtually the exact same eyeball-sex, rainbow circus live show since 2006, and the band were still hailed as psychedelic and alternative rock legends and escaped without much scrutiny from the ‘Yeah Yeah Yeah Song’ being Kraft’s salad dressing-anthem. But on Embryonic, the Oklahoman outfit pull a complete 180 with a grandiose 18-track double album that is equal parts challenging and satisfying.

Younger fans of the band who’ve gotten used to the Lips’ happy-go-lucky style might be turned off. But lets be clear on one thing: Embryonic is not In A Priest Driven Ambulence or Oh My Gawd!!! Yes, the album is more reminiscent of the Lips’ earlier material in it’s art-rock edginess, but the Embryonic songs still have a pop-like structure and is quite melodic.

If albums were like sports games, then Embryonic would have two Most Valuable Players in bassist Michael Ivins and drummer Kliph Scurlock. One very noticeable difference in this Lips’ album is that it’s extremely groove-heavy. The rhythm section is turned way up in the mix and Ivins’ bass is the lead instrument on the majority of the tracks. This leaves lead guitarist and keyboard player Steven Drozd and Wayne Coyne’s vocals pushed down to give the album a very spacey, eerie vibe throughout.

Album opener and lead single “Convinced Of The Hex,” features a sexy Miles Davis Bitches Brew-era organ line under a warped bass line and an almost DJ-sample-esque drum beat. “The Sparrow Looks Up At The Machine” packs a punch with a thick driving bass riff, floating keyboard melody and helicopter-esque drum fills as Coyne sings, “What? / What does it mean? / To dream what you dream / To believe what you see?” in a warbled echo. “See The Leaves” is demented steamroller of a song with Coyne’s wicked and haunting vocals leading the way over big bass guitar bursts and computer blips until a subdued bridge slowly unwinds with what sounds like a computer-generated accordion, and “Your Bats” is an old school throwback with a lead bass hit nearly lifted straight from Jimi Hendrix’s “If 6 Was 9.”

The Flaming Lips even invite a few friends in on the fun as the Yeah Yeah Yeahs‘ Karen O adds animal noises on the cute vocal melody-propelled ditty “I Can Be A Frog.” and again on the epic electro-soul album closer, “Watching The Planets.” Additionally, MGMT show up during the chorus of the Zeppelin-heavy “Worm Mountain” that features a killer two-note funky bass riff breakdown.

With 18 sprawling tracks, it’s a given that a few tracks might be difficult for a casual Flaming Lips fan. “Scorpio Sword” is a tension building, lo-fi discordant instrumental that shifts into nearly soundtrack symphonic heights. “Gemini Syringes” is another instrumental that recalls classic Floyd in that it takes it’s time to set it’s spacey atmosphere, which features an audio recording of someone discussing Calculus over a slow-burning bass line.

Embryonic at times may seem a bit scattershot, but the highlights rank among some of the best material the Lips’ have ever produced. At times, the record is daunting, even intimidating, but it’s successful as a complete work in an era of iTunes singles. And while playing it safe seemed logical, you have to hand it to The Flaming Lips for delivering such an ambitious record at this point in their career. Embryonic is a long and strange journey, but it’s definitely worth the trip.