“I can feel the pull of your history,” Laura Bettinson coos on “Harmony,” a beguiling web of Afrobeat groove and sci-fi synth buzz. It’s a fitting observation: Like Ultraísta’s 2012 debut, Sister is tinted by the trio’s famous résumés. Producer Nigel Godrich, best known for his long-running collaboration with Radiohead, cooks up a similar electronic-acoustic hybrid with drummer Joey Waronker in their side-project Atoms for Peace. In many ways, Ultraísta feels like that band with Bettinson subbing in for Thom Yorke— using the same sonic foundation of spongey synthesizers, looped basslines and manipulated rhythms as a framework. But Bettinson is a commanding presence with a unique vocal texture all her own. Opener “Tin King” showcases her range: She enters in an almost narcotic trance, repeatedly pounding home one note as Godrich and Waronker crescendo with cascades of funk bass, hi-hats, rim-clicks and gliding synth-strings; then in the chorus, she slips into a soothing R&B croon. Bettinson’s presence breathes life into the project, but it’s not like her bandmates are coasting. In fact, Godrich—who assembled the material from a series of improvisations— brings a heightened dynamic range to the arrangements: On the buzzing “Bumblebees,” he flips Waronker’s drums on top of themselves, continuously shifting the downbeat over a rumbling bass; on “Anybody,” he twists a sawing string pattern into a puzzle, using reverb and echo for subtle but affecting splashes of color. Sister is destined to live in a shadow, but Ultraísta are blooming without sunlight.