Chronovision is a highly concentrated dose of pure forceful memory that solitarily stands as Tacoma-bred, New York-based psych-pop artist, Brad Oberhofer's long-awaited sophomore album. Since the release of his acclaimed debut full-length Time Capsules ll in 2012, the 24-year-old frontman has since been inundated with misfortune, following the death of beloved family and friends, including the discovery of his roommate, who died from a heroin overdose in their apartment just days before Brad's Lollapalooza gig. It's this intensity that cradles and drives his latest album, which he's delivered doused in New-Wave influenced psych-pop that blends orchestral intensity with the solemn memorial that's leaked from Brad's own psyche.

But it's been no quick delivery. An astonishing 106 demos and nearly three years later, Oberhofer has concentrated his own amassed recollection into the 12-track opus. And ahead of Chronovision's release, Brad takes a walk through the brash and demanding streets of New York, where he breaks down the lengthy course clearly and definitively with a soft-spoken poise.

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Congrats on your sophomore album. What does Chronovision represent for you thus far?

I've written a lot of music between the last record and this one. This record is only a little bit of that music so there's been a lot of exploration that's featured on the record and some that's not featured on the record. To me, it represents a professional accomplishment and it represents a lot of integrity to me, because I feel like I had complete creative control over the whole album and I worked really hard to make sure it stayed true to my vision. It represents some personal growth and triumphs over hardships and triumphs over any pessimism I was experiencing throughout the process that I was feeling. Hopefully my optimism prevails.

What place were you in before you made the record in comparison to where you are now, a few days before the album is released?

When I released the last record, I think I maybe had a different idea of what it meant to be successful in music. Since then, I've toured a lot and we've played some big festivals and I've seen and met a lot of people that play, that headline large festivals. Meeting those people and learning what they did to get where they are and what it really feels like to them to be in a such a high position in terms of album sales and people listening to your music. My notion of success in music is no longer gaged by sales or views but by personal accomplishment and by contributing something that is truly personal. That's truly original in some way. I think for most people, if you're doing anything that's truly personal, it's going to be original to an extent, because your own unique personality will be all over it. I'm just in a different place in terms of what it means to be a professional musician and what my duties are as a musician.

The album is more experimental and intense while still holding true to your own trademarked sound. What urged you take a more experimental direction sonically this time around?

With the last record I did, I think I was heading in a more experimental direction, but I kind of relinquished some of my creative control over it on my last record and allowed some of the crazy, more experimental parts I included in it to get taken out. With this record, I just kind of kept doing what I naturally do and what feels right to me and no one was there to take out the experimental bits.

You cover the topics of loneliness and loss, while the theme of memory encapsulating the album, but you do it in such an upbeat, buoyant way. Where does that optimism and comfort in dealing with the things you've been through come from?

I think you're born with that. I think you either have it or you don't. I think you're an optimist or a pessimist. If you're an optimist masked as a pessimist, it's going to take some experience to become an optimist. Some people, in order to survive, you need to become optimistic, because there are a lot of sad things that happen to everyone, all the time. You have to maintain it in order to survive and not just devour your own brain and wallow in sadness. But some people aren't capable of doing that. I think I'm inherently optimistic.

You went through a surprising 106 demos on the album. What made these 12 the ones to move forward with?

I made a lot of incarnations of an album. But these felt like the most cohesive and the strongest in terms of a body of songs that fit together.

In an interview earlier this year, you had mentioned your journey to creating a perfect album. What was that journey like and do you feel like you've reached it?

I don't think that's a possible outcome. I think that there's always perfection in flaws and there's perfections in things that you do wrong, but in my mind, what perfection is, is it derives as much pride as potentially possible about something, which is a possible feat. I put in two and a half years of my life basically. I went through my early twenties working on something and pretty much only working on that and it pretty much occupied all of my brain-space and I flew around to a few locations and recorded one version of the album in Seattle and scrapped it. Tried to fix it in Tacoma, which is where I grew up. Re-recorded some stuff at Electric Lady in New York. I recorded a lot of stuff in my apartment. Got a lot of friends involved. Ended up recording most of it on my own at Strange Weather studio in Brooklyn and then I ended up flying out to LA and staying in LA for about a month to work on some of the songs. I stayed in Atlanta for a couple of weeks working with this mixing engineer Ben Allen. There was a lot of mixing and mastering and a lot of digging to find the perfect album art. That's what I did. It involved a lot of hardship, a lot of commitment and a lot of reversal of self-doubt and it took forever.

And now it's here and you're able to perform these songs after such a lengthy process. How's the tour been?

It's been pretty good. I've got four people I went to high-school with and another friend of mine from New York playing drums. The tour has been good. The tour was initially slated for when the album was to be released but we ended up pushing back the record so that it officially comes out Friday. The tour happened before the major marketing push for the album. If Liberace were playing at a piano bar in Kansas City Missouri and there were a couple posters around town for it, I think that maybe 20 people would show up to hear Liberace play. But with this tour, it was a lot of fun.

With an album so personal, is it emotionally taxing to share your story night after night or is it more therapeutic for you?

My shows are a little bit different for me. Every audience in every town has different vibes and every town has its own idea of what they like. Some are closed-minded, some are open-minded. Some are ready to dance. It's just fun to create an environment for people to feel free to do whatever they want and I can interact with them under the conditions that, really anyone should feel comfortable to say how they feel. I think I really try to create that environment at my shows.

The album is out on Friday. Where will you be and what will you be doing when it drops?

I'll probably just be writing piano pieces at my apartment.