You may want to peek your head out from under the covers to witness the riveting and refreshing début album from the self-proclaimed “Monsters of Folk.”

After touring together in 2004, My Morning Jacket’s Jim James, She & Him’s M.Ward, and Bright Eyes’ Conor Oberst and Mike Mogis decided to form the first folk-rock super group since the Traveling Wilburys.

Monstrous shoes to fill, yes, but the new group’s album is startlingly reminiscent of its predecessors. In the tradition of the Traveling Wilburys, each Monsters of Folk member sings, writes, plays, and produces, grazing from instrument to instrument from track to track. The four Monsters explore foreign territory without hesitation — Mogis, Bright Eyes’ producer and instrumentalist, even shared his voice on the album.

Although the group’s name is Monsters of Folk, it is hard to distinctly categorize its album into one genre. Ward’s soulfully sunken, country-ridden, bluntly blues influence infests the disc’s every inch. Oberst created a serene but sensual, dream-provoking pleasure. The entrancing echo in James’ voice, and his free-spirit-inspired lyrics define the word “depth.”

The Monsters’ members lurk together in the first track, “Dear God (sincerely by M.O.F).” Each artist takes turns to tune lyrics that contemplate theology, as intimate harp strums and distant bass beats stimulate a sedative setting. Though the guys continue to harmonize on the album’s next track, the daze wears off to allow “Say Please” to strike with a soulful set of lyrics, gripping guitar solo, and a fixating feel of folk.

As the album proceeds, the four start to split into songs of their own specific styles. “The Sandman, the Brakeman, and Me,” is a spitting image of Ward’s influence. In the track, he is the lead vocalist and effortlessly creates a safe and magical atmosphere through his delivery. The soft lyrics are accompanied by subtle guitar strumming, providing a dreamy fog of fantasy. Similarly, in “Man Named Truth,” Bright Eyes lead singer/songwriter/guitarist Oberst takes control, departing from his usual soft, sultry vocal declamation to belt out forceful, Western-driven words.

This fabulous foursome has yet to commit to any future releases, but given the strength of the début, it’s safe to assume that a decade-spanning career à la Traveling Wilburys is in the making.

These Monsters won’t attack your bedrooms but may attack the top of the charts.