Do You Feel OK?

Superhumanoids first crossed my radar last year with their two-song release “Hey Big Bang” and “Come Say Hello,” dreamy electro-pop tracks that showcased lead singer Sarah Chernoff’s potent soprano voice. I’d missed their 2013 album Exhibitionists, which had a similar sound but lacked the stronger hooks from their 2014 EP; the promise of those two songs had me eagerly anticipating their second full-length album, Do You Feel OK?, which more than fulfilled expectations with a half-dozen single-worthy tracks that keep Chernoff front and center without skimping on the underlying melodies.

Superhumanoids’ sound draws on the electro-pop and new wave sounds of the 1980s but avoids sounding retro or derivative with distinctly modern production and more emphasis on layered music tracks below the vocals. The lead single, “Anxious in Venice,” is a glorious introduction to the album, bringing a new intensity that replaces the languorous feel of their previous work, and as a result has garnered some airplay on Sirius XM. Chernoff’s vocals rule the day, as they do on most tracks here, but it’s the throbbing beat behind her vocals that makes the song such a standout, bringing a funk or even disco element to the track that we haven’t heard from Superhumanoids before. Second single “Norwegian Black Metal” has the song title of the year for me, starting with a sample of Chernoff that sounds like she’s doing a bird call, shifting into a mid-tempo track that is more dream-pop than “Anxious,” restoring the ethereal quality that’s more part of their signature, but again with greater intensity and the introduction of a vocal melody that we’ll hear repeated through the rest of the album (on the line “what’s the delay?”).

This style of music – one that crosses a number of subgenres, but ultimately is synth-heavy electronic pop, with a slower tempo than dance music – can become repetitive over an entire album, which was a little true of Exhibitionists but is not the case at all on Do You Feel OK?. Shifting tempos helps, as “Dull Boy” drifts back into that dreamier (or perhaps stoner) territory after the first few songs have all had quicker paces, as does varying electronic drum lines and mixing up melodic elements across the various tracks. “Touch Me” is one of the most upbeat tracks and gets Chernoff soaring; her voice is main separator between Superhumanoids and other similar acts like CHVRCHES, led by another female vocalist whose voice is endearing but less powerful. She’s also very much the driver of the disturbing “Oh Me I,” a sweet-sounding track with the repeated couplet, “Everything implies/that we’re all going to die.” And suddenly I don’t feel OK.

There are experimental moments on the album, including the trip-hop crescendo-filled “Blinking Screens” (very successful) and the vaguely soul-influenced “Death Rattle” (less so), which also helps counteract the potential monotony that I find on so many electronic albums. Do You Feel OK? seems to be slipping under the general radar this month in the torrent of great alternative releases (CHVRCHES, Wavves, Telekinesis, Disclosure, New Order, Beirut, the Libertines, and more), but this album deserves far wider listening than it’s getting.