Words by Sean Moeller, Illustration by Johnnie Cluney, Recording engineered by Mike Gentry
The thing that makes Brad Oberhofer so damned endearing is his overflowing zeal. It just busts out through his eye sockets, out through his mouth, out through his ears and pores, and out through his ever-active hands and legs. He can't sit around, for all of the sensations that he has inside of him are thrashing and pounding against his inner bluffs and shorelines. He's getting bombarded by his own self to get all of these words and all of this scattershot, but catchy as all get out music out of his guts, heart and lungs. He's at the mercy of all of the feelings and electricity that don't seem to diminish, dampen or dim at any time. He somehow scares you with all of his ambition, when he has it all out there, on display. It's a generous amount of the sweet stuff, those energies and those strange sparks of inspiration that you must answer - at any hour that they strike - without hesitation.
From the sound of things and from what seems to be his normal, antsy and exuberant behavior, Oberhofer - the front man for the New York-based band of the same last name and latest Glassnote Records signee - might not let himself sleep very often. There's too much to do, too much to write about. Heaven help whomever his neighbors are when he's home. They might not be sleeping very much either, only it's not by virtue. Perhaps his restlessness, in a way, might lead to greater productivity and inspiration as well. It's highly unlikely, but it's worth a thought. It's the young male in Oberhofer that brings forth much of his material, being the serial lady-lover, if not lady-killer that he is. There's a lot of the unrequited love thing going around in his lyrics, but it never seems to get him down, nor would it ever. He seems fine in the knowledge that the hunt must go on and that it will be a prolonged hunt. He seems to be a fellow who is satisfied with the thought that this is all tricky business, the courting and the securing. It doesn't mean that he'll sit idly by the phone and wait for everything to pan out. He seems to be someone, seeking out that perfect love, but he's also someone who realizes that he's a very young guy and it never hurt - at least immediately - to have a few lines thrown out into the lake.
He's making his impatience very clear, albeit in a very out-dated way, on the song "Landline," from the debut full-length, "Time Capsules II," when he is reminding a girl that if he doesn't answer his cell phone, that she should stop at nothing. If she really wants to talk to him, to hang out with him, to do anything with him, she should go right ahead and ring him up on his landline. It might be the last option, but she should try it, just in case. He wants her to do everything in her power to get to him because everyone knows that he'll blow her phones up too, knock on the doors incessantly and get a little crazed himself. With Oberhofer, it's a charming trait and likely a feature that a young lady would love, if not forever, then for some amount of time.