Cosmonautical frontman David von Schlegell hit upon a through-line while listing musical influences at a coffee shop in downtown Bend recently:

“I like pop music with subversive content, and I like songs that have meaning, I guess. I hope to achieve that level of craftsmanship.”

The statement certainly applies to von Schlegell’s favorite songwriters: The Replacements’ Paul Westerberg, Elvis Costello, Wilco’s Jeff Tweedy, and Pedro the Lion’s David Bazan, among others. But he might as well have been describing Cosmonautical songs such as the Aldous Huxley-inspired “Brave New World” or the wide-eyed power-pop of “Frightened and Enlightened.”

That latter song opens the band’s first full-length studio album, which will be released at a show at Volcanic Theatre Pub on Friday. The album follows 2016’s EP “Quit Using Humanity as an Excuse” and has an equally cerebral title: “Talking to People You Don’t Know.”

“It’s about that rampant social anxiety. Everybody seems to have it to some degree, to varying degrees,” von Schlegell said. “And as a band, that’s a major part of what you do whether you want to or not, is talking to people that you don’t know necessarily. And it’s been really, I think, a huge growing opportunity for myself at least to talk to people and try to find common ground — find a common goal and make that happen.”

Cosmonautical and von Schlegell have been key players on Bend’s music scene since von Schlegell arrived in the city in 2013. The influence has gone beyond just performing at shows. Most recently, von Schlegell and drummer Paterson Colson (also known for his work with Strange Rover and others), have helped organize shows at The Capitol in conjunction with Recycle Music.

But Cosmonautical’s history stretches back to 2008, when von Schlegell, who grew up in Portland, came up with the name (inspired by a lyric in the Cracker song “Low”) as a student at Portland State University. That same year, he moved to the East Coast and spent the next six years in New Hampshire and Boston, assembling the first lineup of the band with original drummer Jeff Couture.

After arriving in Bend, the band underwent numerous lineup changes. Colson, the band’s second-longest tenured member, joined in late 2015; lead guitarist Jaren Brown joined about two years ago. Bassist Mackenzie Hatfield (also of Strange Rover) came on board just in time to feature on “Talking to People You Don’t Know.”

“When our EP came out, I wasn’t sure it was gonna keep going because (the lineup) just seemed to be rapid-fire changing,” von Schlegell said. “But we’ve been gigging as this amalgamation for two years almost, and it feels like the right group of guys. We’re creatively synced up, and we’re refining what we do. I think we’ve become more of a band and less of a vehicle for my songs.”

The EP and album were recorded at The Firing Room with engineer Dayne Wood, who in the last few years also recorded albums by Larry and His Flask, The Roof Rabbits, Alovitiman and former Bend band Gonzo. Guest musicians on the album include mandolinist Ian Carrick, saw player Meagan McGuinness, Miguel Mendoza and Jeshua Marshall (of Larry and His Flask) on horns and von Schlegell’s wife, Kristin von Schlegell, on vocals.

“The album’s really eclectic,” von Schlegell said. “We jump around a little bit because there (are) a lot of influences in the band. I think that was another reason — it’s like, let’s have some fun with it; we don’t know when we’re gonna get to do this again.”

Those influences range from von Schlegell’s “subversive pop” to heavier drummers such as Deftones’ Abe Cunningham for Colson. Brown studied classical piano as a kid, while Hatfield has a jazz and metal background, which came into play on the album’s guitar harmonies.

“I’ll bring a melodic line to the table, and because these guys are more educated in that realm than I am, it’s easy for them to go, ‘I can do this, you can do that,’ and create a little bit more dynamics in the group,” von Schlegell said.

“Honestly, at first, it was pretty overwhelming for me because David’s style was just so different and his chords were weird,” Brown added. “It took a long time for me, for that muscle memory to play chords that I’m not used to playing.”