If you've been following Miley Cyrus on Instagram for longer than a week or so (or really any length of time), you're familiar with the spacey, psychedelic pics she shares on the reg. And if you watched her close out last night's VMAs with a gigantically colorful performance of new single "Dooo It!," then you REALLY know how Miley likes to get down.

And now, Miley has given us a brand-new album called Miley Cyrus & Her Dead Petz that keeps the party going -- kind of. I mean, you have death right there in the title, so obviously it's not an ecstatic album. Except it can be. It can also be mournful, pensive and even bitter, but never somber or violent.

It's a fascinating listen from a particularly fascinating artist, and you should hear it in full right here. As you do, read over what we learned when I gave it my first spin today.

Yeah, she smokes pot...but she ain't no hippie.

OK, sorry. But she made those the first lyrics of the album, so we kinda had to.

It's kind of a Miley + Flaming Lips collab album.

MC's BFF Wayne Coyne and fellow Lips songwriter Steven Drozd co-wrote 11 of the album's staggering 23 tracks with Miley, not counting ones she worked on with individual members (including Wayne's nephew Dennis) and Mike WiLL Made-It, who executive-produced Bangerz in 2013.

But it's totally a Miley album through and through.

Her name is on the writing credits of every single track and it's the only name listed on 10 of them, which means her neon, twisted, gleeful energy is all over this album.

Homegirl can't handle the goo.

"BB Talk," one of the album's most outwardly personal songs, finds Miley delivering spoken-word verses ruminating on how she just can't handle all the lovey-dovey stuff with a special someone: "Look, I like when you send the, you know, 'queen' emoji, but when I send back the monkey -- you know, the ones with the hands over the eyes -- that means that s--t's just getting a little too weird for me."

Her deceased pets do indeed play a big role.

Track 3 is called "The Floyd Song (Sunrise)," a reference to her departed pooch, and as she told The New York Times, "What he was to me, Wayne has become." Her old blowfish Pablow also gets a shout-out on, yup, "Pablow The Blowfish."

The featured guests are random AF and awesome.

Phantogram's Sarah Barthel pops up on "Slab Of Butter (Scorpion)," Big Sean raps on "Tangerine" and Ariel Pink guests on "Tiger Dreams" -- proving once again that Miley's penchant for creative, genre-pushing team-ups.

"Twinkle Song" showcases Miley's pipes in a vulnerable, badass way.

"What does it MEAN? What does it MEAN? What does it MEAN?"

The sweet moments are sweet.

"Lighter" reveals a mature, more nuanced and gentler side of Miley we haven't heard much of lately. "The Floyd Song (Sunrise)" eulogizes her pooch with grace and reverie. The skeletal "Tangerine" allows Miley's technicolor, layered vocals to soar high.

The trippy moments are TRIPPY.

"F--kin F--ked Up" and "I'm so Drunk" are unsurprisingly chaotic studio takes that find Miley a little out of control. Go figure. Meanwhile, "Miley Tibetan Bowlzzz" (which her dad, Billy Ray, recorded) is legit just the sound of droning meditation.

The NSFW moments are aplenty.

"Fweaky," "Bang Me Box" and "Milky Milky Milk" are all pretty self-explanatory in title alone, but there's a whole host of more grown-up, *adult* Miley moments on this album. It's almost like the dead pets represent the death of childhood simplicity-- and the creeping in of complicated, frustratingly confusing adult life -- or something like that.

The whole thing is nearly two hours long.

Clear your schedule. You're gonna want to listen to this album in full, like right now. Happy first listening!