Layered dreamscapes and bare minimalism combine on Aortica Mor, an enrapturing and endearing release from this experimental quartet hailing from Portland, OR. Making extensive use of recorders, strings, and even an accordion to accent a body of lo-fi compositions, thebrotheregg proves itself worthy of the capital intentionally left out of its name.

Adam Goldman’s wispy vocals echo the sad-hearted gloom of many an indie boy past, yet always retain an inviting softness and pleasant melody. When coupled with his charming knack for lyrical cleverness [“your body’s a temple/my body’s an amusement park”] and the requisite sugar-sweet female backup vocalist who’s brought in on occasion, magic occurs. While overlong and somewhat underproduced, Aortica Mor succeeds admirably.

On the album’s clear opus, “Mercury Retrograde,” low-pitched strings precede and buoy Goldman at his best, a throaty, lusty croon that maintains the intimacy of the spoken word, and elevates perfectly to match the chiming-in of Kaitlyn ni Donovan’s recurrent vocals. A recorder and horn lend jangle-pop catchiness and melody without resorting to the self-consciously geeky efforts of groups like the Unicorns. On the equally charming “Smoke Signals,” Ms. Donovan and Goldman again effect a trip into dream pop territory with a quality achieved previously only by the Rentals.

thebrotheregg’s unique “avant-rainpop” sound should prove favorable to any fan of indie rock. Despite the pretentious title, the album’s songs soar with an impetus rarely seen. Somewhere between Nick Drake’s naked emotionalism and the Microphones’ knack for melody, thebrotheregg provides a fulfilling and memorable venture into a soundscape of dreams and the desires that inspire them.