It was supposed to rain. Lightning warning. But a heat alert hits with the same amount of power instead. Shade is a luxury, water stations are crowded and security, looking out for impending heat stroke, are on deck. By the time festival gates open, the minimal breeze blowing off Lake Ontario's Woodbine Beach can't quite offer any real sense of relief as Bestival Toronto fences bar us in, locking off our fresh supply. But not even the hottest day in June can stop fans in their jet black Odesza merch. They rep to and in the extreme.

The duo is backstage where the air is different - air-conditioned and chill. In a white trailer positioned directly behind the mainstage, Harrison Mills and Clayton Knight, (otherwise known as Catacombkid and BeachesBeaches) sit side-by-side, also anticipating their Toronto set, with much to look forward to: Most urgently, an entirely new dynamic to incorporate into their live show since their last time around and most poignantly, new music on the horizon. I'm greeted with hand-shakes, coconut water and a seat directly across from the Seattle-based electronic duo who unveil a little of both.

I have my disposable camera with me that I'm using to snap the festival and I saw on Twitter that you recently developed the disposable camera from your first tour. What ended up being on that roll?

Harrison: Our really good friend from back home came with us for fun and just did our merch. So he came along on our first headline tour and he came out for a few after that. He brought disposable cameras every time to take photos and I recently found it at the bottom of the drawer at my house, in the desk in our studio and I got it developed that day. There's so many dumb photos of us. And almost every single one is in pitch black and you can't really see what anyone is doing. But it was funny to look back and see the dumb little jokes we had on tour. Like, our sound guy and our visuals guy wore cardigans every Wednesday for no reason. There was a photo of that. Stuff like that. Nothing too crazy.

How would that roll of film change if you were to do that this time around? How would it look different?

Clayton: Mellower. We've calmed down quite a bit. We were inexperienced and partied a lot at the beginning but that wears on you pretty fast.

From college peers to world travelling artists, how has the dynamic between you two changed now that you're heading into working on and delivering new music. And how has that shown you what the future of Odesza looks like?

Clayton: We're only growing closer, just like with the rest of the team. We've been around each other for a long time now so it has evolved into a sort of family. We're working on new music so we'll hopefully get something out there soon, but it's definitely gotten more controlled. We know what we're doing. We're more focused and together.

Harrison: With the amount of us touring, we had to kind of relearn how to make music first and secondly, how to make music together. You're never really in one place more than an hour, it feels like, so there's usually a schedule every day where you'll have 30 minutes to an hour between a section of time to work on stuff so that was really hard at first, for me. And it's still a struggle sometimes, but we really had to relearn our dynamics but it's made it a lot stronger now.

That's so good that it brought you closer, because as a duo, it's so easy to start heading in different directions.

Clayton: The whole crew is getting closer. Now we have a whole band with us too and it's become more of a band dynamic.

I read that the new music and the new album is coming but it's in its beginning stages. What can you tell me about those stages?

Harrison: We have a ton of music, it's just we don't want to repeat ourselves. We don't want the album to sound like the last album and that's the thing that takes a lot of time. Experimenting enough where you grow as an artist and that's what we're trying to do. Just push our sound as far as we can.

I read a recent interview and you and the journalist were discussing how your music is sort of EDM for people who don't know they like EDM. Will that be a conscious decision heading into working on the album? Is there a philosophy?

Harrison: I kind of regret saying yes to that guy when he said that, because I didn't truly believe that. I was like, that'll work, I guess. The project was really, how do we make weirder sounds feel comfortable for people who don't listen to weirder sounds? We come from loving a wide, vast amount of genres of music - weird tribal stuff, experimental stuff, funk, soul. Clay had a huge love of pop at the beginning and what drew me to Clay's sound before we stared collaborating is, I found he made pop music that was really interesting and that's how we started. Because I come from more hip-hop and soundtrack stuff. So that journey has been figuring it out.

Clayton: We're at a weird crossroads now. We have this band element. It's nice to do these festivals where they're a little bit more eclectic. They're not super EDM focused but we're still also able to do the more EDM focused ones. So balancing that out and trying to live in both those worlds can be hard but we're trying to figure it out. Our next album will have elements of both.

Obviously the main concern right now is putting on the best live shows you possibly can but has there been lots of thought about how you'll transition from the performance side of things into album mode?

Harrison: It changed our mindset quite a bit working on the live shows, when it comes to working on new music, because you start thinking. Before, I would be like, I have no idea how this will work live. Now I know if the song will work live or not. And that's a double edged sword. Part of me is like, this is totally going to work live and then does it work as a song on its own too? It's a give and take. It's about experimenting with our sound as much as possible, because that's what I think we did really well on In Return. We kept what we started with on Summer's Gone and pushed on, trying to do singer/songwriter stuff.

Does all that change your creative process now? Or will it?

Clayton: That's the dangerous thing, because a lot of artists make their first album and start touring and doing shows and they then change their sound to evolve the live setting, which I think can be a mistake. You can lose what people liked in the first place. What we'll do is adapt songs to a live setting and rework those softer, slower, more ambient ideas to give them a little bit more energy live and add different elements. We're going to then remove ourselves from the live set to take some time off and not think about live music as much and focus on what we want to hear from the album. And then once the album's done, go back and adapt some of the slower songs and newer material to a live show. We don't want to create an album that's so live-centric.

Harrison: They're such different beats. We think of them as totally different mediums, because they are. You can't just go up there and play an album you made. It doesn't make sense. You have to put on a show.

And has what you stand for changed as you head into working on new music?

Harrison: There's a lot of self-reflection. Especially if you read a bad review, which you probably should never do. You really start thinking when people start analyzing every move you make. Is this how I want to be represented? That has definitely influenced a lot of moves more recently and moving forward.

Clayton: And only recently have we come to the realization that this is something that we can do now. When we first started, it was just kind of a hobby. We thought maybe we have a year of doing these shows and we'll go back and get jobs. Only recently have we realized there's no turning back.