Expounding on everything from misunderstood duck people who buy hummus at Trader Joe’s to governmental failure, Devendra Banhart’s Megapuss inhabit a baroque realm far from peculiar in their debut album Surfing.

A concoction of bizarre lyrics, heathenous humor and insincere flashes of solemnity, listening to Surfing qualifies as nothing more than a guilty pleasure. But the album’s brilliance isn’t solely in itssinful lyrics. Its eclectic tone ranges from jaunty to somber and, combined with Banhart’s vintage vocals, gives Surfing a genuine feel.

Banhart, known best for his holistic harmonies and contributions to the emerging psychedelic indie scene, joins forces with Priestbird’s Greg Rogove to give Megapuss a unique sonic blend of eccentric spoken word and radical ’70s protest rock. Fabrizio Moretti of the Strokes accompanies the two on drums, and the group’s collective randomness is the only constant throughout the album.

The album begins with the naughtily named “Crop Circle Jerk ’94,” a catchy ’70s throwback that has a love-struck Banhart proclaiming, “You know I used to see fire in the sky / Now I see rainbows.” The main lick, a velvety bass/guitar combo reminiscent of a G. Love groove, resonates throughout the verses and gives way to the popped-out chorus of “I’m gonna give you all my lovin’ / And all my loving / ’Cuz it’s all for you.”

One of the two somewhat normal songs featured on Surfing paves the way to what may be the most bizarre track, “Duck People Duck Man,” a strange ode to the aforementioned duck people. The first minute of the song monotonously discusses the “true” stereotypes that duck people windsurf and “eat white bean and basil hummus,” only to be interrupted by bubbly guitar chords accompanied by the lyrics “well nobody told you you could ever be like that.”

“To The Love Within” is next with a festive, acoustic beat complimented by playful lyrics and the worldly sounds of clapping and whistling.

After another short acoustic number, Banhart and company break into their only other pop-sounding song in “Theme from Hollywood.” Highlighted by a strange section consisting of a chorus of meows, “Theme from Hollywood” features the refrain “Too much fun in Hollywood / We’re having too much fun,” which is repeated until its catchy beat is permanently lodged in the brain.

The title track, “Surfing,” combines ambient elements similar to that of Radiohead’s Kid A with the tranquil rock of Phish’s Round Room. The song progresses into a piano-driven dreamlike sequence as Banhart somberly wails, “I’m surfing / All the good times we’ve had.”

The following three tracks, “Lavender Blimp,” “Mister Meat (Hot Rejection)” and “Hamman” return the album to the quirky ambiance found earlier and prepare listeners for the outrageously crude “A Gun On His Hip and a Rose On His Chest.” Riddled with anti-government, anti-establishment jargon, the song incorporates a pre-Ed Sullivan Rolling Stones tone with the profane lyrics that depict the band’s desire to vulgarly punish figures of authority.

The goofiness continues with “Chicken Titz” before returning to solemnity in “Sayulita,” after which Surfing ends with two short acoustic numbers.

Make no mistake, Megapuss is not for those on moral high ground. But on Surfing, the band impress with a diverse array of instrumentals coalesced with strange but effective lyrics to create an authentically original mix of music.